Work on a piece of music. Methodological development in music on the topic: work on works of large form (elementary classes for music school) scientific and methodological development

N.R. Zrulin

L.A. Manina

teachers of the Children's School of Art of the Motovilikhinskiy district of Perm

The basis of this methodological development was made up of observations and conclusions from our educational and concert practice.

Naturally, we do not claim originality of ideas; moreover, much of what follows will be familiar to our colleagues. However, we tried to systematize the well-known approaches to working on a work, conditionally dividing them into stages and arranging them in a logical order.

Work on piece of music- a thorny, difficult path, where the use of stamps and clichés is impossible. One and the same work, depending on the abilities of the student, requires a new look, a different reading. The degree of pedagogical skill is to turn the work on the work into an exciting, creative process both for the student and the teacher.

The first stage of work on the work:

• familiarization;
• text parsing;

• learning from notes.

Usually, we start working on a piece of music with a preliminary listening to a new composition, getting to know the style, era and biography of the composer. In our teaching practice, we use the following methods of work at the initial stage:

the first - the teacher himself performs a new work to the student, thereby inspiring and stimulating him to further work;

the second - listening to the studied composition in audio or video recording, performed by famous pianists of different eras. Usually we do this by following the musical text. After a preliminary acquaintance with the new work, we, together with the student, analyze:

We determine the nature and structure of the work;

We determine the tonal plan, tempo, rhythm features;

We discuss the dynamics and analyze the strokes;

We outline the climax points;

We decide what techniques we will use in the work;

After that, the student talks about his impressions of the work. We invite him to find interesting biographical facts about the composer in his homework, learn about his work, and listen to other works by this author.

Having familiarized with the work, the student proceeds to the analysis of the musical text.

In this regard, it is interesting to refer to the statement of Konstantin Nikolaevich Igumnov: “You must put all your attention, all the experience of your life into the analysis of the text.” A competent, musically meaningful analysis creates the basis for further correct work. We have developed the following parsing requirements musical work, which we consider necessary for further work on the work:

Careful reading of the musical text at a slow pace;

Metro - rhythmic precision;

Selection and use of precise fingering;

Applying the right strokes;

Meaningful phrasing and dynamics;

Understanding harmonic texture;

Subtle and precise pedaling.

The time allotted for the analysis of the work will be very different for students of different degrees. musical development and giftedness. Our pedagogical experience shows that one student brings a competent analysis to the third or fourth lesson, while someone will need much more time and effort for this.

One of the important moments at the initial stage of work on a work, we consider the work on fingering. Correct and convenient fingering contributes to faster memorization of the text, incorrect fingering slows down the learning process. Therefore, we use the following methods of working on fingering in our practice:

The teacher thinks over and writes down the fingering, consulting with the student;

The student continues to record the fingering in the lesson under the supervision of the teacher;

The student is encouraged to continue recording the fingering on their own;

The role of the teacher in the choice of fingering should be active, since it is necessary to take into account the size of the hand and the characteristics of the student's pianistic apparatus, as well as his technical training.

ABOUT artistic value fingerings were said and written by many outstanding pianists-teachers:

G. G. Neuhaus considered the best fingering, “which allows you to most accurately convey given music and most closely matches its meaning.

When learning a piece of music, it is also important rhythmic control, developing a sense of a single breath, understanding the integrity of the form.

In our work, we use the following methods, in addition to the traditional counting aloud: working with a metronome, learning the rhythm with the help of subtexts, pronouncing rhythmic syllables, tapping the strong beat with your foot, etc. It is useful to engage in rhythm, both at the initial stage of work, and when performing a finished, learned piece. Practiced techniques in the lesson, we offer the student to fix on their own in homework.

Second stage of work:

• learning by heart;
• sound work;
• phrasing, dynamics;
• technical mastery of the work.

An important period in the work on the work - learning by heart . The question of when to learn a work by heart - at the end of work on it or at the beginning - is decided by teachers in different ways. For example, A.B. Goldenweiser said: “I always insist that you first need to learn a piece from memory, and then learn technically, and not vice versa ....”.

In this case, memory performance becomes convenient and natural for the student, facilitates and speeds up the course of work, since the student is not connected with the text, he acquires a feeling of physical and emotional comfort earlier. Only meaningful learning of the work will lead to success.

However, our practice shows that learning a work by heart should take place precisely at the second stage, when the student has mastered the text with sufficient confidence.

There are many methods and ways of memorizing musical text. The following is closer to us: a work learned by memory is performed at a slow pace with careful listening and detailed awareness of the text.

But it is impossible not to note the method proposed by I. Hoffman.

He writes: “There are four ways to learn a piece:

For piano with notes;

Without piano with notes;

For a piano without notes;

Without piano and without notes.

The most common and frequently used in our practice is the first method. It is more expedient, in our opinion, to divide the work into parts or episodes, and work in stages, achieving a qualitative result. We also use the following methods of memorizing and learning a piece by heart:

2) start the work from any section, part or musical structure. This method results in greater execution certainty;

3) use the cumulative memorization method, i.e. perform a piece from memory from the last sentence, then from the penultimate one, and so add one sentence at a time.

Using this method of work, the student is guaranteed against any accidents at the concert, since at any moment he will be able to cover the work as a whole and imagine any specific musical construction.

Sound work considered the most difficult. We consider one of the main tasks of achieving high-quality sound to be the ability to listen to the sound of the instrument. Working on the sound, the teacher strives to achieve a natural, rich, soft sound of the instrument.

G. G. Neuhaus wrote: “Only one who clearly hears the length of the piano sound ... with all the changes in strength ... will be able to master the necessary variety of sound, which is necessary not only for polyphonic playing, but also for a clear transmission of harmony, the relationship between melody and accompaniment, and most importantly, to create a sound perspective that is as real in music to the ear as in painting to the eye.

To teach how to express with the help of sound a variety of emotions, the most intimate states of the soul, in our opinion, is one of the main tasks of the teacher at this stage of work.

Dynamics acts as an element of expressiveness and transmission of the emotional state, which helps to identify the culminating points of the work and enrich the texture with bright colors.

Working with the student, we try to build a dynamic plan in such a way that the intensity of the sound climax corresponds to its significance in the overall emotional and semantic context.

As a result, the form of the work will be embraced by a single emotional whole, which will lead to the completion of the composition.

You can not ignore and mastery pedal . This work is integral and necessary at this stage. We constantly pay attention to editorial remarks, in some cases we recommend that the student put down the pedal on his own. The main thing is to be able to avoid extremes: too economical, dry and, conversely, too abundant pedalization.

From the very first lessons, when working on a piece of music, we instill in the student the elements of competent musical thinking. Together with the student, we analyze the structure of a musical phrase, which should have its own semantic peak. Therefore, at this stage, it is of particular importance to work on phrasing musical work. A thoughtful attitude to the phrase allows you to delve into the musical content of the work. One of the conditions for the disclosure of content is a sense of the direction of the development of musical construction.

Igumnov wrote about this: “In every phrase there is a well-known point that constitutes the logical center, that is, the point to which everything gravitates and strives. This makes the music clear, unified, connects one with the other.

At the same time, one should not lose sight of the moments of demarcation of musical constructions, the completion of one and the beginning of a new musical thought.

“All music is always divided by breath. living breath, which is the "nerve" of any expressive performance, should be an essential property of piano performance. This is how A.B. wrote about the importance of breathing in music. Goldenweiser.

One of the important aspects of the work concerns technical mastery work. Regarding this problem, two main types of tasks can be distinguished: overcoming technical difficulties at a slow or moderate pace and working on techniques in the desired character of the sound and at the final tempo.

As noted earlier, performance techniques should be worked out in slow pace :

Slowly or at an average pace, technically difficult sections are worked out until they are memorized to automatism;

Particularly difficult passages are divided into small phrases and gradually mastered at a moderate pace;

Each hand is separately learned in cycles with a stop on the strong beat.

As regards work in final pace , then the student must be given the following tasks: acquiring the necessary dexterity, quick motor response, control of attention and meaningfulness of sound extraction.

In order to develop the technical capabilities of a young musician well, in our opinion, it is necessary to train not so much the fingers as the head.

G. M. Tsypin said about this in his book “Learning to Play the Piano”: “The one who knows how to think quickly while playing plays the piano quickly. Thinking fast for a musician means being able to navigate easily and naturally in instantly changing game situations, to keep control over performance at the highest speeds...” .

Based on experience, we can say that some children have good fluency, but at the same time the fingers move without the participation of thought. Such a performance most often becomes an empty formal playback.

Other children, on the contrary, have such a close relationship of fingers with auditory control and thinking that they cannot perform a piece without hearing it with their inner ear.

That is why, from our point of view, it is important to “train the head” in any case.

Third stage of work:

Revealing the integrity of the work;

· clarification performance intention;

Preparation for concert performance.

Educating the student's ability to hear, to embrace the whole work as a whole and the ability to perform it on the stage is an important task at the final stage of work.

The perception of a piece of music is always associated with listening to it as a whole. This can help us return to the early stages of work, such as re-listening to audio, video. This allows you to compare your interpretation with the interpretation of the great pianists, to enrich the experience of aesthetic perception.

Having passed the previous stages of work on the work, the student gradually achieves independence, masters the skills of self-expression. Moving first along the path of imitation, he begins to introduce his own attitude into the performance, which allows him to develop a sense of proportion in the student and instills artistic taste.

Performing brilliance is a sign of undeniable artistic talent. It is not characteristic of every student, but by developing this quality, the teacher can achieve certain results.

The practice of concert performances has shown that the brightness of the transfer of the musical image is closely related to the emotional side of the performance. Often, having learned a work, the student cannot perform it with inner freedom, reveal the figurative content. The choice is important, in our opinion. concert repertoire where genre, textural diversity, vivid imagery are especially important - all this contributes to the enthusiasm for this music and the very process of performance.

Today we can interest a student not only with well-known classical works, but also with the repertoire of modern composers such as I. Parfenov, E. Poplyanova, V. Korovitsyn, Yu. Vesnyak, N. Toropova, Yu. Litovko.

When working with the works of these authors, the student is fascinated by the vivid imagery and modern presentation of musical material, interesting harmonic findings and new rhythmic formulas.

Performing freedom cannot be fully revealed if the student does not have sufficient experience. public speaking. A variety performance sums up all the work done. It is very important that the piece being performed becomes a favorite for the student and brings creative inspiration to the young musician. A bright, emotional performance will always be of great importance, and sometimes it can be a major achievement for the student and for the teacher.

To be able to set up a student before a concert performance, to inspire confidence in their abilities, and after the performance to note positive results, while showing correctness in expressing criticism - this is a manifestation of the teacher's professionalism.

The role of the teacher in the process of working on a piece of music is enormous. His participation should be active and creative at all stages of work.

Conclusion

The creative communication of a teacher with his student does not fit into the format of the listed stages of work. The upbringing of a young pianist does not lend itself to the regulations of the educational process, it has no limits. Starting from the first lessons, we try to put a piece of our soul into each student, instill a love for the most beautiful of the arts, using all the teaching talent and great experience.

Bibliography:

1. Barenboim L.A. Musical pedagogy and performance. - L .: Music, 1986.
2. In the class of A.B. Goldenweiser. - M., 1986.
3. Hoffman I. Piano game. - M.: Muzgiz, 1961.
4. Igumnov K.N. Performance problems. //Owls. art, 1932.
5. Lyubomudrova N.A. Piano teaching methodology. - M.: Music, 1986.
6. Neuhaus G.G. On the art of piano playing: Notes of a teacher. - M.: Classic XXI, 1999
7. Timakin E.M. The education of a pianist. - M.: Soviet composer, 1984
8. Tsypin G.M. Learning to play the piano. - M.: Enlightenment, 1984.

Introduction

In this work, I consider several stages in mastering polyphony and mastering polyphonic skills, starting with small children's songs of an under-voice, imitative, canonical and intermediate warehouse to studying the Well-Tempered Clavier. The pieces from Anna Magdalena Bach's Notebook, Little Preludes and Fugues, Inventions and Symphonies are also analyzed and considered.

Among most works of the school curriculum, polyphony is particularly difficult in terms of understanding the depth of the content of music, hearing all the voices together and each separately, dynamic contrasts, decorations, articulations. Even more difficulties arise in the field of performance: as is known, the composer's clavier works have come down to us in the form of manuscripts that, with rare exceptions, do not contain instructions for the performer, since at that time they were almost not recorded.

As N. Kalinina says in her book "Bach's Clavier Music in the Piano Class", between the research literature on Bach's work and the practice of teaching in our musical educational institutions there is a noticeable gap. Sometimes the study of Bach's pieces is carried out according to outdated, low-quality editions and is reduced mainly to a formal study of voice leading and strokes. Hence the corresponding attitude towards the works of Bach, characteristic of many students, as if it were not great art, but boring compulsory material. As a result, instead of deeply meaningful music, we often hear the dry playback of polyphonic works with obligatory, annoying "highlighting the theme", with lifeless, mechanically made voice leading. This is often the result of seven years of schooling.

The nature of Bach's clavier compositions is such that without the active participation of the intellect, their expressive performance is impossible. They can become an indispensable material for the development of musical thinking, for educating the student's initiative and independence, as well as the key to understanding other musical styles. However, this is achievable only with a certain method of presenting Bach's polyphony.

The task of the teacher is to convey to his students an interested, inquisitive attitude to the work of a brilliant composer and thereby reveal to them artistic beauty his music.

Initial period of study.

Everyone knows that the initial years of study at a children's music school have such a profound effect on a student that this period has long been rightly considered the decisive and most important stage in the formation of a future pianist. It is here that interest and love for music is brought up.

A very important, turning point in the spiritual life of a child is the first lessons. And the sacred duty of the teacher is to make them a bright and joyful event.

Of course, this imposes a great responsibility on the teacher, the need for serious preparation for the first meeting with his pupil, in order not only to introduce him to music, but also to captivate him.

One of the best ways to get your child interested in music is to sing familiar songs. This helps the teacher to establish good contact, to find with the baby mutual language. In the relaxed, trusting atmosphere of the piano class, the student willingly sings songs familiar to him, listens with interest to the works and plays played by the teacher, guesses their character. Along the way, the baby can be explained that sounds, like words, convey content, express different feelings. This is how musical impressions gradually accumulate.

Light polyphonic arrangements of folk songs of the sub-vocal warehouse are the most accessible educational material for beginners in terms of content. Here the teacher can talk about how these songs were sung by the people: she began to sing the song (“theme”), then the choir (“voices”) picked it up, varying the same melody.

Taking any Russian folk song, the teacher invites the student to perform it in a “choral” way, dividing the roles: the student plays the learned part of the lead in the lesson, and the teacher plays another instrument, as this will give each melodic line greater relief, “depicts” the choir, which picks up the melody. After two or three lessons, the student already performs the "accompanying voices" and is clearly convinced that they are no less independent than the lead melody. Working on individual voices, it is necessary to achieve expressive and melodious performance by their student. It is very useful to learn each voice by heart.

Playing both parts alternately with the teacher in the ensemble, the student not only clearly feels the independent life of each of them, but also hears the whole piece in a simultaneous combination of both voices, which greatly facilitates the most difficult stage of work - the transfer of both parts into the hands of the student.

In order to make the understanding of polyphony more accessible to the child, it is useful to resort to figurative analogies and use program compositions in which each voice has its own own characteristic. This way of mastering polyphonic pieces significantly increases interest in them, and most importantly, awakens in the mind of the student a vivid, imaginative perception of voices. It is this that is the basis of an emotional and meaningful attitude to voice leading. A number of other pieces of the under-voice warehouse are learned in a similar way.

It is important that the songs and plays are simple, meaningful, characterized by bright intonational expressiveness, with a clearly defined culmination. They can be found in many collections for beginners, for example: “I want to become a musician”, “The path to music-making”, “Dreamer pianist”, “Piano playing school” edited by A. Nikolaev, “Collection of piano pieces” edited by S .Lyakhovitskaya, "Young pianists" edited by V. Shulgina.

The collections by E. Gnesina "Piano ABC", "Small Etudes for Beginners", "Preparatory Exercises" can be of great benefit in developing the basic skills of performing polyphony during the period of primary education.

In the collections by V. Shulgina “For Young Pianists”, A. Barenboim “The Way to Making Music”, E. Turgeneva “The Pianist-Dreamer”, creative tasks are given for the pieces of the sub-vocal warehouse, for example: pick up the lower voice to the end and determine the key; play one voice and sing the other; add a second voice to the melody and write down the accompaniment; compose a continuation of the upper voice, and so on.

Composing, as one of the types of creative music-making for children, is extremely useful. It activates thinking, imagination, feelings. Finally, it significantly increases interest in the studied works.

The active and interested attitude of the student to polyphonic music depends entirely on the method of work of the teacher, on his ability to lead the student to the figurative perception of the main elements. polyphonic music, such as, for example, the reception of imitations. In the Russian folk songs “I walk with the weed” or “The woodcutter” from the collection by S. Lyakhovitskaya, part 1, where the initial melody is repeated an octave lower, one can figuratively explain the imitation by comparison with such a familiar and interesting phenomenon for children as echo. (See examples no.). The kid will gladly answer the teacher's questions: "How many voices are in the song?", "Which voice sounds like an echo?". And he will place the dynamics (f and p) using the “echo” technique. Playing in an ensemble will revive the perception of imitation: the student performs the presentation of the melody, and the teacher performs its imitation (“echo”), and then vice versa.

It is very important from the first steps of mastering polyphony to accustom the child to the clarity of the alternate entry of voices, the clarity of their conduct and ending. It is necessary at each lesson to achieve a contrasting dynamic embodiment and a different timbre for each voice.

It is important that from the very beginning of work on the piece, when the student teaches it with each hand separately, he hears during the lessons not only the combination of two voices in the ensemble, but also their different colors.

Performing pieces by B. Bartok, I. Stravinsky and others contemporary authors, children comprehend the originality of the musical language of modern composers. The example of B. Bartok's play "The Opposite Movement" shows how important the game of polyphony is for the upbringing and development of the student's hearing, especially when it comes to the perception and performance of works contemporary music. (See example no.). Here the melody of each voice individually sounds natural. But during the initial playing of the piece with both hands at once, the student may be unpleasantly struck by the dissonances and enumerations that arise during the opposite movement: f - f sharp, C - C sharp. If he learns each voice separately beforehand, then their simultaneous sound will be perceived by him as logical and natural.

Following the mastery of simple imitation (repetition of the motif in another voice), work begins on canonical pieces built on stretta imitation, which enters before the end of the imitated melody. In plays of this kind, not one phrase or motive is imitated, but all phrases or motives until the end of the work.

As an example, let's take a Russian folk song in the canonical arrangement "You, Vanka, duck down" from the "Collection of Polyphonic Pieces" by S. Lyakhovitskaya, part 1. (See example no.).

To overcome the new polyphonic difficulty, it is useful next way work in three stages. In the beginning, the piece is rewritten and learned in simple imitation. Under the first motive of the song, pauses are put down in the lower voice, and when imitating it in the bass, pauses are written out in the soprano. The second motive is rewritten in the same way, and so on. In such a lightweight "arrangement" the play is played for two or three lessons.

Then the "arrangement" becomes somewhat more complicated: the motifs are already rewritten in stretta imitation, and in bar 3 the soprano has pauses. In the same way the second motive, and so on. Ensemble method work at this time should become the leader. Its significance increases even more at the last, third stage of the work, when the piece is played by the teacher and the student in the way it was written by the composer. And only after that both voices are transferred to the hands of the student.

It should be noted that the process of rewriting polyphonic works is very useful. This was pointed out by such outstanding teachers of our time as Valeria Vladimirovna Listova, Nina Petrovna Kalinina, Yakov Isaakovich Milshtein. The student quickly gets used to the polyphonic texture, understands it better, more clearly realizes the melody of each voice, their vertical relationship. When copying, he sees and grasps with his inner ear such an important feature of polyphony as the mismatch in time of identical motives.

The effectiveness of such exercises is enhanced if they are then played by ear, from different sounds, in different registers (together with the teacher). As a result of such work, the student is clearly aware of the canonical structure of the piece, the introduction of the imitation, its relationship with the phrase that is being imitated, and the connection of the end of the imitation with a new phrase.

It is also impossible not to mention the enormous role in preparing the student for Bach's polyphony played by pieces of an intermediate type. They do not yet have equal independent voices, but the melody contrasts sharply with the accompaniment part. Such, for example, are “Lullaby” by N. Dauge, Etude F-durB. Bartok, "Dance of the Frogs" and "Dance of the Dolls" by V. Vitlin, Aria by V. Mozart from the collection "Easy Pieces and Etudes for Beginners". There are many similar pieces in the Piano School (under the general editorship of A. Nikolaev), for example, Etude A-dur by F. Lekuppe, Piece by B. Goldenweiser.

Further, the study of polyphonic pieces of the Baroque era is of particular importance, among which the works of I.S. Bach. In this era, the immediate foundations of the musical language were formed - musical and rhetorical figures associated with certain semantic symbolism (figures of a sigh, exclamation, question, silence, amplification, various forms movement and musical structure).

Acquaintance with the musical language of the Baroque era serves as the basis for the accumulation of the intonational vocabulary of a young musician and helps him understand the musical language of subsequent eras.

Notebook for Anna Magdalena Bach.

The best pedagogical material for the education of a pianist's polyphonic sound thinking is the clavier heritage of I.S. Bach, and the first step on the way to the "polyphonic Parnassus" is the well-known collection called "Notebook of Anna Magdalena Bach".

The small masterpieces included in the "Notebook" are small dance pieces - polonaises, minuets and marches, which are distinguished by an extraordinary richness of melodies, rhythms, and moods. In my opinion, it is best to acquaint the student with the collection itself, that is, with the Music Notebook, and not with individual pieces scattered across different collections. It is very useful to tell the child that the two "Notebooks of Anna Magdalena Bach" are a kind of homework. music albums family of J.S. Bach. This included instrumental and vocal pieces of various nature. These plays, both their own and those of others, were written by I.S. Bach, sometimes - his wife Anna Magdalena Bach; there are also pages written in the children's handwriting of one of Bach's sons. Vocal compositions - arias and chorales included in the collection - were intended for performance in the home circle.

Many teachers begin to introduce students to the "Notebook" Minuet in d-moll. (See example no.).

The student will be interested to know that nine minuets are included in the collection. In Bach's time, the minuet was widespread, a lively, well-known dance. It was danced at home, at fun parties, and during solemn palace ceremonies. In the future, the minuet became a fashionable aristocratic dance, which was carried away by prim courtiers in white powdered wigs with curls. You should show illustrations of the balls of that time, draw the attention of children to the costumes of men and women, to a greater extent determined the style of dancing (women have crinolines, immensely wide, requiring smooth movements, men have legs covered with stockings, in elegant high-heeled shoes, with beautiful garters - bows at the knees). The minuet was danced with great solemnity. His music reflected in its melodic turns the smoothness and importance of bows, low ceremonial squats and curtsies.

After listening to the minuet performed by the teacher, the student determines its character: with its melody and melodiousness, it is more like a song than a dance, therefore the character of the performance should be soft, smooth, melodious, in a calm and even movement. Then the teacher draws the student's attention to the difference between the melody of the upper and lower voices, their independence and independence from each other, as if two singers sing them: we determine that the first - a high female voice - is a soprano, and the second - a low male - bass; or two voices, as it were, perform two different instruments. It is imperative to involve the student in the discussion of this issue, to awaken his creative imagination.

I. Braudo attached great importance to the ability to instrument on the piano. “The first concern of the leader,” he wrote, “will be to teach the student to extract from the piano a certain, necessary sonority in this case. I would call this skill ... the ability to logically instrument on the piano. Of great educational importance for the ear is the performance of two voices in different instrumentation. It is sometimes convenient to make this distinction clear to the student by means of figurative comparisons. For example, the solemn, festive Little Prelude in C-dur can naturally be compared with a piece for a small chamber ensemble, in which the solo oboe melody is accompanied by string instruments. The very understanding of the general nature of the sonority necessary for a given work will help the student develop the exactingness of his ear, help direct this exactingness to the realization of the necessary sonority.

In the d-moll minuet, the melodious, more expressive sound of the first voice resembles the singing of a violin. And the timbre and register of the bass voice approaches the sound of the cello. Then it is necessary to disassemble together with the child, asking him leading questions, the form of the piece (two-part) and its tonal plan: the first part begins in d-moll, and ends in parallel F-dur`e; the second part begins in F-dur`e and ends - in d-moll`e; phrasing and associated articulation of each voice separately. In the first part, the lower voice consists of two sentences clearly separated by a cadence, and the first sentence of the upper voice breaks up into two duplex phrases: the first phrase sounds more significant and insistent, the second is more calm, as if in response. To clarify the question-answer relationships, Braudo suggests the following pedagogical technique: the teacher and the student sit at two pianos. The first two-tact is performed by the teacher, the student answers this two-tact question by performing the second two-tact-answer. Then the roles can be reversed: the student will “ask” questions, the teacher will answer. At the same time, the performer asking questions can play his melody a little brighter, and the answering one - a little quieter, then try to play the other way around, listen carefully and choose the best option. “It is important that at the same time we teach the student not only to play a little louder and a little quieter, but we teach him to “ask” and “answer” on the piano”2.

The second part of the d-moll minuet presents a great difficulty for the student, connected with the change in the nature of the melodic movement in the first four measures due to the composer's use of the hidden two-voice technique. Here, the music is characterized by soft, graceful danceability and flirtatiousness, partly attached to a light, unconstrained jump in the melody, partly to the characteristic rhythm on the first beat of the next bar __________________

1 I. Braudo "On the study of Bach's clavier compositions in a music school", p. 16

2 I. Braudo "On the study of Bach's clavier compositions in a music school", p. 17

(two sixteenths and an eighth). The teacher should get the student to perform these passages as accurately as possible. Based on the interpretation of the first sentence of the second part of the minuet (playful grace), the “question-answer” structure of this part is modified in the contrast of images: feminine - masculine, light - more serious. Moreover, the introduction of the second (male) image comes at the moment when the first (female) is still dancing (the fourth measure of the second part, the rising figure in eighth notes in the left hand). This is already a real polyphonic task - a simultaneous combination of two different images in different voices.

It should be noted that the second part of the d-moll minuet, when actually performed, should no longer be divided into two halves, since the music picked up by the right hand in the fifth measure had already entered the measure earlier, when the right hand was still dancing “graceful beauty”. Due to this inseparability of the second half of the minuet and the difficulty of the polyphonic tasks set in it, a convincing performance by his student becomes difficult to achieve. Perhaps that is why the student should begin to get acquainted with Anna Magdalena Bach's Music Notebook with polyphonically and structurally simpler pieces, such as the Bagpipes or Minuet in G-dur.

You can also work on the G-dur minuet using the “questions” and “answers” ​​method.

"Questions" and "answers" consist of four bar phrases. Here the entire upper voice of the minuet is played by the student, expressively intoning the “questions” and “answers”, the work on the expressiveness of the strokes deepens (bars 2.4) - here figurative comparisons can help the student. For example, in the second measure, the melody “reproduces” an important, significant bow, and in measures 5-7, lighter, graceful bows, with a step back (descending sequence down the tones is a natural diminuendo). The teacher may ask the student to depict various bows in motion, depending on the nature of the strokes. It is also necessary to define the climaxes of both movements, so the main climax of the whole piece in the second movement almost merges with the final cadence - this is a distinctive feature of Bach's style, which the student should be aware of.

Of the many tasks that stand in the way of studying polyphony, the main one is work on melodiousness, intonational expressiveness and the independence of each voice separately. Independence of voices is an indispensable feature of any polyphonic work. Therefore, it is so important to show the student, using the example of, say, a d-moll minuet, how exactly this independence manifests itself:

in different, almost nowhere coinciding phrasing (for example, in bars 1-4 the upper voice contains two phrases, and the lower one consists of one sentence, the second part consists of two images overlapping each other);

in mismatch of strokes (legato and non legato);

in the mismatch of culminations (for example, in bars 5-6 the melody of the upper voice rises and comes to the top, and the lower voice moves down and rises to the top only in bar 7);

in the mismatch of dynamic development (for example, in the 4th measure of the second part, the sonority of the lower voice increases, and the upper voice decreases.

Features of Bach's dynamics, rhythms, melismatics

Bach's polyphony is characterized by polydynamics, and for its clear reproduction one should first of all avoid dynamic exaggerations, one should not deviate from the intended instrumentation until the end of the piece. A sense of proportion in relation to all dynamic changes in any work by Bach is a quality without which it is impossible to convey his music stylistically correctly. Only through a deep analytical study of the basic laws of Bach's style can one comprehend the performing intentions of the composer. All the efforts of the teacher should be directed to this, starting with the “Notebook of Anna Magdalena Bach”.

On the material of other pieces from the Notebook, the student learns new features of Bach's music, which he will encounter in works of varying degrees of complexity. For example, with the features of Bach's rhythm, which is characterized in most cases by the use of neighboring durations: eighths and quarters (all marches and minuets), sixteenths and eighths ("Bagpipes"). Another distinguishing feature of Bach's style, which was identified by I. Braudo and called the "eight-hand technique", is the contrast in the articulation of adjacent durations: small durations are played legato, and larger ones - non legato or staccato. However, this technique should be used based on the nature of the pieces: the melodious Minuet in d-moll, the Minuet in c-moll, the solemn Polonaise in g-moll are an exception to the "rule of eight".

When working on Bach's polyphony, students often come across melismas - the most important artistic and expressive means of music of the 17th-18th centuries. Given the differences in editorial recommendations regarding the number of decorations and their interpretation, it becomes clear that the student will definitely need help and specific instructions from the teacher here. The teacher must come from a sense of style works performed, own performing and pedagogical experience, as well as melodic manuals available in a sufficient number. The article “On the performance of decorations (melismas) in the works of ancient composers” by L.I. Roizman is devoted to the issues of melismatics, in which this issue is analyzed in detail and instructions are given by I.S. Bach. You can also refer to the capital study of Adolf Beischlag "Ornamentation in Music", and, of course, get acquainted with Bach's interpretation of the performance of melismas according to the table compiled by the composer himself in the "Notebook of Wilhelm Friedemann Bach", covering the main typical examples. Three points are important here:

Bach prescribes to perform examples due to the duration of the main sound (with some exceptions);

all melismas start with the upper auxiliary sound (except for the crossed out mordent and a few exceptions - for example, if the sound on which the trill or not crossed out mordent is already preceded by the nearest upper sound, then the decoration is performed from the main sound);

auxiliary sounds in melismas are performed on the steps of the diatonic scale (except for those sounds when the alteration sign is indicated by the composer - under the melisma sign or above it).

So that students do not treat melismas as an annoying hindrance in a play, you need to skillfully present this material to them, arouse their interest and curiosity. For example, when learning Minuet G - dur, the student first gets acquainted with the melody, not paying attention to the mordents written out in the notes, and then listens to the piece performed by the teacher: first without decorations, then with decorations and compares. The guys, of course, like the performance with melodic additions more.

Next, the student can be asked to find the location and designation of melismas in the notes. Having discovered new icons for himself, the student usually shows interest in them. Having prepared him in this way to explain difficult material, the teacher says that these signs that decorate the melody are an abbreviated way of recording melodic turns, common in the 17-18 centuries. Melismas, as it were, connect, decorate the melodic line, enhance speech expressiveness. And if melismas are a melody, then they must be performed meaningfully and melodiously, in the tempo and character that are inherent in this piece. It is no coincidence that the term "melism" comes from the ancient Greek word "melos", which means singing, melody. In order for melismas not to be a “stumbling block”, they must first be heard “to oneself”, sung and only then played, starting at a slow pace and gradually bringing it to the desired one.

In addition, I would like to mention the existing editions of the Notebook for Anna Magdalena Bach. As N. Kalinina says in her book "Bach's Clavier Music in the Piano Class", among the editions that deserve attention, we can name the following.

“The only complete Soviet edition of the Notebook is L. Roizman's edition. It is based on the exact author's text, the editor's performance instructions fairly accurately reflect the nature of Bach's work. The fingering comes from the peculiar principles of the composer, who, as you know, in addition to the usual laying of the first finger, liked to use shifting or crossing fingers (for example, in a scale-like sequence upwards, he used the following order: 3,4,3,4 or 3,4,5,2 ,3,4 and so on). The advantage of the publication is also the table of melisma deciphering placed here (which Bach entered in another collection - “Notebook of Wilhelm Friedemann Bach”) and the correct decoding of all melismas found in the works of this collection.

The editorial board of L. Lukomsky also makes a serious impression.

The Hungarian edition of 13 pieces from the Music Notebook, edited by B. Bartók, attracts enough attention with stylistically correct phrasing and fairly accurate articulation.

"Polyphonic Notebook" edited by I. Braudo contains 8 pieces from the "Notebook of Anna Magdalena Bach". The stylistic features of the composer's music are conveyed here with almost impeccable accuracy; this edition is recommended as a guide for young teachers. It differentiates the indications of dynamics related to individual voices (denoted by the letters - f, p) and to a combination of voices (denoted by the words - forte, piano). Caesuras between phrases and motifs are marked with a slash, and the beginning of a phrase in some plays is marked with an "abandoned" league. Transcription of melismas is placed separately from the pieces, which gives freedom to the performer. The notation of the metronome is interesting: in each piece, two tempos are indicated: one for the initial period of work, the other for the performance of an already learned piece.

And, finally, two Leipzig editions are also recommended from the editions of the Notebook: edited by G. Keller (1950) and G. von Dadelsen (1957). Each of them reproduced Bach's text in its purest form.2

Pieces from Anna Magdalena Bach's Notebook are recommended for acquaintance and study by children of the second and third grades of children's music schools. In particular, the program of the Ministry of Culture for the second grades provides for such works as Minuet in d-moll, Minuet in G-dur, Polonaise in g-minor and Bagpipes in D-dur; for the third classes - Minuet No. 3 in c-moll, Minuet No. 12 in G-dur, March No. 16 and Polonaise No. 19.

2 N. Kalinina "Bach's clavier music in the piano class", p. 43

Little preludes and fugues.

Bach's Little Preludes and Fugues can rightly be called small masterpieces. In them, the genius of Bach, the sublime style of his art appears in its entirety.

This collection was formed in the 19th century German musician F. Griepenkerl. The first half of the collection consists of 18 small preludes, which are combined into two notebooks. One of them includes 12 pieces, the other - 6.

The miniatures of the collection reflect many areas of Bach's figurative world. Here are pathos (prelude C-dur No. 2, I notebook; No. 1 II notebook) and spontaneous cheerfulness (F - dur No. 8, I notebook; E - dur No. 5, II notebook), and deep concentrated reflections (prelude and fugue d -moll, prelude a-moll No. 6, book I). The richness of the instrumental sources of music is also manifested - the brilliant harpsichord style (F-dur No. 8,9), the subtle clavihord manner (d-moll No. 5, a-moll No. 12 from the I notebook), the greatness of the organ (C-dur No. 2 from the I notebook ), grace (c - moll No. 3 from Book I).

The Prelude and Fugues were written as exercises for students. In addition to their artistic merits, these miniatures give the teacher the opportunity to deepen the student's acquaintance with the characteristic features of Bach's phrasing, articulation, dynamics, voice leading, to explain to him such important concepts of the theory of polyphony as, for example, theme, opposition, imitation, hidden polyphony and others.

What was the genre of prelude in the era of Bach and the time before it?

The word prelude itself (from the Latin praeludo) means “I play in advance”, “I make an introduction”. It is known that starting from the XY century, the prelude was an improvisational introduction, aimed at preparing musicians and listeners for the performance of the main work. Over time, such introductory fantasies began to acquire greater completeness, they were often written down, although they retained the features of improvisation in their presentation. In the 18th century, in particular with Bach, the prelude is no longer limited to the traditional role of an introduction (for example, to a fugue), but is often treated as an independent genre.

Analyzing the most characteristic polyphonic tasks on the basis of the Little Preludes and Fugues, it is worth noting that they are also widespread in Bach's more complex compositions. This allows us to hope that attention to them will help the student in the future to show greater awareness and independence in mastering the works of the great polyphonist, new to him.

One of the typical properties of Bach's music is the hidden polyphony of his melodic lines, which creates their special richness. Gradually, the student must learn to recognize several varieties of latent polyphony.

The first of them we will conditionally call "path". In it, one of the voices implied in the melody stands still, while the other moves up or down. (Example). The moving voice is played a little richer, with slightly more support for the hand and the addition of a subtle lateral movement. Repeating sound is played a little easier.

Another example of a kind of hidden polyphony, when both hidden voices are in motion, as in the first measure of the c-moll prelude (Example). In an effort to betray the hidden polyphony, it is important not to turn it into a real one, not to overexpose the sounds, but only to separate the voices by timbre-dynamic means.

One of the most important, perhaps elementary, polyphonic tasks encountered in the combination of two voices is the ability to hear the movement of one voice against the background of a continuous sound in the other. The length of a drawn-out sound can be very different, but the task is the same: listen to it to the end, not remove it ahead of time, not drown it out with a rhythmically more active voice. On such examples, the student learns one of the main laws of the performance of polyphony - the dependence of the strength of the sound of voices on the duration, the more filled their sound. In terms of sound, short durations seem to be placed inside longer ones (Example).

It is more difficult if the task of hearing the background sound of an extended sound arises when holding two voices in one hand, which is often found in a three-voice and more polyphonic fabric. At the beginning of the second part of the Prelude in g-moll No. 10, against the background of the soprano “D”, four sounds move in steps, each of which alternately forms a sixth, fifth, augmented fourth, fifth with the sustained “D”. (Example). In order for all intervals to really sound, to be heard, it is necessary to correlate the sound of each sound of the alto voice with the degree of force with which the soprano “D” sounds at the moment of formation of each new interval. It is useful to work on such places, playing with both hands, and also not sustaining a long sound, repeat it with each new quarter in the middle voice, each time getting quieter, as a gradually fading long sound would sound. The ability to measure sound in such cases, so typical of Bach, needs to be worked very carefully.

Due to the bad manners of the habit of listening to sounds in accordance with their full duration, there is a loss in hearing interesting phenomena in the vertical of Bach's works, including expressive second formations, such as where students tend to shoot quarter notes a little earlier than they should. (Example).

Voice leading should be especially careful in cases where one of the voices sounds with pauses-breaths, and the other moves continuously. (Example). In such places, students often make the same type of mistake: they confuse voices with each other, tear the line of a voice written out for long durations, and connect with this line the last short sounds of another voice before the pause.

A great difficulty for students in polyphony is the preservation of the individuality of voices in terms of intonation when their phrasing articulation, culmination do not match, which requires active auditory control when using known methods of polyphonic work: playing two voices with different hands, playing one and singing the other, playing two instruments with a teacher, etc. In three-, four-voice it is important to determine the function of each voice, remembering that the equality of voices in polyphony does not mean their equivalence. Some voices carry an increased semantic load, leaving others a background role, while others come to the fore in terms of meaning in the following constructions.

Taking into account the properties of human attention to concentrate at one point, placing other objects on the periphery, as if in circles concentrically diverging from the center of attention, the teacher should not set impossible tasks for students to hear all voices equally. It is necessary to outline those voices that, in terms of importance, should be “at the forefront” of attention, while the rest should fall into the field of attention. The student knows them, because he repeatedly listened to them separately, and now, playing several melodic lines at once, he must hear them in the second or third plan. In polyphony, a well-developed, developed amount of attention is very important, which makes it possible to cover several sound plans at once, and not just the first one - the theme. This is achieved by long-term, long-term purposeful work.

As a rule, students include the top voice or theme in the field of attention, while the rest play uncontrollably, mechanically. In the work, therefore, the study of the lower, and most of all the middle voices, is especially important.

Speaking of fugues and fughettas, which are also included in this collection, it should be noted that although these works are preparatory stage to the CTC, in contrast to the Well-Tempered Clavier, the fughettas and fugues are not as developed in their inner content.

Since the fugue is the most rigorous genre of imitation polyphony and it has a strong constructive-logical beginning, it seems important for students to comprehend the laws of fugue construction and their implementation in each specific case.

At the same time, the study of the fugue cannot ignore some of the general principles of mastering a piece of music. The sequence of work on a polyphonic composition widely used in schools - from working out individual voices (without a presentation as a whole) to playing pairs of voices and only in the end - to getting acquainted with the sound of the whole work - is completely unacceptable.

It is expedient to start the first meetings with the fugue from obtaining a holistic figurative-emotional idea of ​​music by playing the piece by the teacher or listening to it on a recording. In parallel with this, there is an intellectual and logical development of the work: analysis of its form, thematic material and its transformations, tonal plan, etc. And only on the basis holistic perception the work begins a thorough analysis, playing by voices, overcoming difficulties. Everything that is comprehended analytically and “obtained” by hearing is gradually realized by performing means.

For students to comprehend the Bach style, the choice of the editors is essential. In domestic pedagogical practice, in connection with the publication of large circulations, the editions of "Little Preludes and Fugues" by K. Czerny and N. Kuvshinnikov were most widely used. Kuvshinnikov's edition has been published many times since the early 1950s. Since the mid-1960s, it has been published with an introductory article by N. Kopchevsky. Of interest is the Leipzig edition of "Little Preludes and Fugues" edited by Kepper, which is close to the urtext. It gives only metronomic notation (in brackets), tempo and character indications (small print). From foreign publications - the editors of L. Hernadi (Hungary) and T. Balan (Romania). Less well known is the version by S. Didenko. The most popular is the edition of N. Kuvshinnikov.

The fact that the edition of K. Czerny is outdated has been said many times in the methodological literature. However, it should be noted that N. Kuvshinnikov's version almost completely reflects Czerny's interpretive principles. This affects the interpretation of the main performing means - dynamics, tempo, articulation.

"Little Preludes and Fugues" play a huge role in shaping the future of a musician. Many threads extend from this collection to the Inventions and the Well-Tempered Clavier.

Inventions and symphonies.

On January 22, 1720, Bach began to write down pieces in a music notebook to teach music to his eldest son Wilhelm Friedemann, who was then 9 years old. In this notebook, along with the “musical alphabet”, examples of fingering, a table of decorations, simple works of various nature - preludes, chorales, etc. - 15 two-voice pieces of a completely new genre called “Praeambulum” and 14 three-voice pieces called “Fantasien” were placed. This is the first, largely undeveloped, undeveloped version of two-part and three-part inventions.

The second author's edition has survived only in a copy of one of Bach's students. The richer ornamented pieces in this variant were arranged exclusively by keys: each three-part piece was preceded by a two-part piece of the same key. There are already fifteen three-part pieces here.

In the third and final edition of 1723, Bach arranged the plays in the order in which they are known from all editions; two-parts are called inventions, three-parts - symphonies. This manuscript undoubtedly represents the author's final version: this is evidenced both by the accuracy with which it was prepared and by the fact that it is provided with a title page, the title of which sets out in detail the pedagogical tasks of this collection. Here is the text of this title:

“An authentic guide in which clavier lovers and, in particular, those who are thirsty for learning, are offered a clear way how you can not only learn to play in two voices, but with further progress, correctly and beautifully deal with three obligate (obbligato - obligatory) voices, while not only to get acquainted with good inventions, but also to develop them decently; but above all, to achieve a melodious manner in the game and at the same time to get a strong predisposition to writing.

In these pieces, Bach combines learning on the instrument (development of melodious sound production, acquiring the skills of simultaneously performing several independent voices) with learning composition. But the inventions, despite their utilitarian and pedagogical purposefulness, are distinguished by a rich figurative content - they are true masterpieces of musical art.

Having created such a wonderful pedagogical collection, Bach limited himself to recording notes and decorations, leaving unrecorded such important details as indications of dynamics, tempo, phrasing, fingering, and deciphering of decorations. All this information was communicated to the students in the lesson, and for mature musicians who had already penetrated the secrets of performance, it was implied by itself.

The definition of "invention", almost never used in the music of that time, comes from the Latin word "invento", which means invention, discovery. Subsequently, this name was arbitrarily distributed by the editors of Bach's compositions and symphonies, which in this way turned into "three-part inventions."

“Each of these plays is a miracle in itself and is unlike any other,” wrote A. Schweitzer, adding that these 30 plays could have been created “only by a genius with an infinitely rich inner world.”3

As N. Kalinina says, in her book “Bach's Clavier Music in the Piano Class”, the deep meaning of inventions is what the performer should first of all feel and reveal. Much in the understanding of these pieces is achieved through turning to the performing traditions of the Bach era, and the first step on this path is to familiarize the student with the sound of those instruments (harpsichord, clavichord) for which Bach wrote his clavier compositions.

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3 A. Schweitzer "Johann Sebastian Bach", p. 242

In order to adequately cover what is new that the Inventions and Symphonies contain in comparison with the polyphonic material that has been covered, I would like to dwell on some inventions.

It is not a secret for any of the educators how difficult it is sometimes to get the students interested in working on inventions. Why is the popularity of these pieces much lower than the popularity of any other polyphonic work by J.S. Bach? As pedagogical practice shows, without prior training about the intended purpose, about the nature of interventions, their study is of little use. But inventions are an indispensable material in musical education, they are a true school of polyphony.

As you know, all inventions are two-part pieces. And to master two-voice to perfection means to get the key to any kind of Bach's polyphony.

Ignorance of the distinctive properties of the musical language, melody I.S. Bach, can lead to deep disappointment of students, since they will not find in a given piece either emotional brightness, or beauty of melody, or sound charm. In the same way, the half-measure theme of the C major invention will not reveal anything to the student until he learns that the theme in the Bach era played a completely different role, pursued completely different goals than in the works of later musical styles. Composers of the 17th and 18th centuries focused not so much on the euphony and beauty of the theme, but on its development in the play, the richness of its transformations used by the author of the tonal and contrapuntal development techniques, that is, those “events” that happen to it throughout the entire composition.

The works of the ancient polyphonic style are built on the disclosure of one artistic image, on multiple repetitions of the theme, the core, the development of which determines the form of the play.

Of all the inventions, C-dur has become the most popular.

Starting to analyze the theme of the C-dur'ny invention, the student can independently (or with the help of a teacher) determine its boundaries and nature. The correct pronunciation of the theme is one of the important conditions for the meaningful performance of the melodic line. In order to avoid a school accent on the first sound of the theme, it is necessary to teach the student to pause and distribute the movement of the hand so that its complete immersion in the keyboard falls on the culminating support of the theme - the sound "salt". When the theme has found its musical completeness, it is useful to play all its performances in order to feel it in all registers. Then you can practice in the following exercise: the student first performs only the theme (in both voices), and the teacher performs the counterposition, then vice versa. In opposition, a problem may arise - the decoration (mordent) is played unevenly. It is important to convey to the student that the decoration is not played by itself, but it is unobtrusively "woven" into the melody.

Having mastered the theme and opposition well, you can proceed to careful work on the melodic line of each voice. Long before they are combined, the invention must be performed in an ensemble with a teacher - first in sections, then in its entirety.

Then the student needs to explain the not yet known concept of inter-motive articulation, which is used to separate one motive from another. This can be seen in the third measure, when the theme is given in circulation. To combine motives, you must first teach them separately, and then, combining them, explain to the student that it is important to listen to the last sound of each motive and “transfer” the sound to the next one.

As a result, a continuous process is formed, consisting of listening to and transferring sound. To listen to the sound means to listen to the previous one, and to feel the movement of music means to think and listen “forward”.

In the Bach era, great importance was attached to the skills of the correct division of a melody, as evidenced by famous musicians of that time. Couperin in the preface to the collection of his plays wrote: “Here there will be a new sign that marks the end of a melody or harmonic phrases and makes it clear that you need to separate the end of the previous melody before moving on to the next one. This is done almost imperceptibly. However, without hearing this little pause, people fine taste feel that something is missing in performance. In a word, such is the difference between those who read without stopping and those who observe periods and commas.”4

The most obvious type of caesura is the pause indicated in the text. In most cases, the ability to independently establish semantic caesuras is required, which the teacher must instill in the student. In the C-dur invention, the theme, opposition and new implementation of the theme in the first voice are separated by caesuras. Students cope with caesura quite easily when moving from a theme to a counter-addition, but it is more difficult to perform a caesura from a counter-addition to a new implementation of the theme. You should carefully work on taking the first sixteenth note in the second measure more quietly and softly, as if on an exhalation, and, imperceptibly and easily releasing your finger, immediately lean on the second sixteenth group (sol), sing it deeply and significantly, showing the beginning of a new carrying out the topic. Pupils, as a rule, make a gross mistake here, playing the sixteenth before the staccato caesura, and even with a rough, sharp sound, completely not hearing how it sounds. Braudo recommends that the last note before the caesura be played tenuto if possible.

It is also necessary to acquaint the student with various ways of designating inter-motive caesura. It can be indicated by a pause or, depending on the choice of the editor in each particular case, by one or two vertical lines, the end of the league, a comma in place of the caesura, a staccato (dot) icon above the note preceding the caesura. In the following example, dots over notes (staccato) do not indicate

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4 M. Druskin "History of foreign music", p.62

the need for abrupt pronunciation of these sounds, but only remind the student of the end of the next motive on this sound and warn against undesirably linking it with the next one.

In the third section, it is important to draw the student's attention to the ability to hear the movement of the lower voice against the background of a continuing sound in the upper voice. It is important to listen to the long sound to the end, not to remove it ahead of time, not to drown out the rhythmically more active lower voice.

It is impossible not to mention such an essential moment in Bach's polyphony as fingering. The right choice of fingers is a very important condition for a competent, expressive performance, the wrong one can interfere no less than dynamics, articulation, and phrasing that do not correspond to the composer's style. As the performing tradition of the Bach era suggests, articulation was the main means of expression. This task was subordinated to the fingering of that time, aimed at revealing the convexity and distinctness of motive formations. Claviers mainly used three middle fingers, which had approximately the same length and strength, which ensured the achievement of sound and rhythmic evenness - the most important law of early music. The more important role of the first finger in Bach did not cancel the principle of shifting fingers - long through short (4,3,4,3 and so on). The sliding of a finger from a black key to a white key has also been preserved, and the “silent” substitution of fingers was also widely used.

"Inventions and Symphonies" by Bach are intended for study in grades 5-7 of children's music schools. In the fifth grade, the following two-part inventions are performed: C-dur, B-dur, e-moll and a-moll. In the sixth - two-part: No. 3 D-dur No. 5 Es-dur No. 7 e-moll No. 10 G-dur No. 11 g-moll No. 12 A-dur No. 15 h-moll three-part: No. 1 C-dur, No. 2 c -moll, No. 6 E-dur, No. 7 e-moll, No. 10 G-dur, No. 11 g-moll, No. 15 h-moll. In the seventh grade, three-part inventions No. 3 D-dur, No. 4 d-moll, No. 5 Es-dur, No. 8 F-dur, No. 9 f-moll, No. 11 g-moll, No. 12 A-dur, No. 13 a-moll, №14 B-dur.

I will also mention the editions of Inventions and Symphonies. In pedagogical and performing practice, there are three most popular editions: F. Busoni, A. Goldenweiser, L. Roizman.

Tatyana Nikolaevna and Glenn Gould should be mentioned among the greatest performers-interpreters of Bach's two and three-part inventions.

Summing up all that has been said above, “Inventions and Symphonies”, according to the correct remark of F. Busoni, “are the most suitable preparatory material for the composer’s main pianistic work, The Well-Tempered Clavier.”6

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6 I.S. Bach "Inventions for Piano" (edited by Busoni), p.55

"Well-Tempered Clavier"

"The Well-Tempered Clavier" - like no other of Bach's clavier collections, reflects the essence of the composer's art with such scope and depth.

Creating his cycle of preludes and fugues, Bach set himself a very specific goal: to acquaint those playing the clavier with all twenty-four major minor keys, many of which had not been in use until that time. He wanted to show the undoubted advantage of the tempered tuning of keyboard instruments over the natural tuning generally accepted in the old days.

Bach was determined to prove - to his creative example- all the fruitfulness of the temperament system, which has retained its significance to this day. This system consists in dividing an octave into 12 equal semitones and in building fifths and thirds not in pure natural tones, but in tempered artificial intervals (was found by the organ master A. Werkmeister, but has not received practical application).

The Well-Tempered Clavier is the result of the composer's many years of work, which lasted a quarter of a century. In 1722, Bach combined 24 preludes and fugues created at different times and gave the collection the following title: “The Well-Tempered Clavier or Preludes and Fugues, carried through all the tones and semitones, both the major third and the minor. For the benefit and use of young people who are eager to learn music, as well as for the pastime of those who have reached perfection in this teaching. Composed and performed by Johann Sebastian Bach, Grand Ducal Anhalt-Keten Kapellmeister and Music Customs Conductor. Year 1722".

After 22 years, the composer created a second cycle called: "24 new preludes and fugues", which eventually came to be considered the second part of the CTC.

A remarkable feature of this collection of plays is that the preludes and fugues were grouped in it as works of equal genres. It could be a relationship of contrast and similarity - in any case, a certain internal relationship was established between the prelude and fugue. Due to this circumstance, HTC plays are studied in pairs.

The preludes and fugues from the Well-Tempered Clavier are mostly performed by older children. Among the most performed works are the following. Preludes and Fugues: (Volume I): d-moll, g-moll, c-moll, Fis-dur, As-dur, B-dur. Preludes and Fugues (Volume II): c-moll, d-moll, f-moll.

I would also like to say a few words about the editions of the CTC I.S. Bach.

One of the most common are the editions of Cerni and Mugellini, who made a great contribution to the promotion of Bach's works. However, these editions are characterized by a romantic interpretation that corresponds to the spirit of the time in which they lived, and not to the true image of I.S. Bach.

Busoni's edition is considered one of the best editions of the CTC, which does not have excessive, "foreign" impurities. The only drawback is that Bach's designations for melismas are omitted in Volume I of the CTC and their decoding is written directly into the text.

Bartok's edition has a number of indisputable advantages and can be recommended as the main among the available editions. Among the shortcomings of the editorial board, it is fashionable to note: fractional dynamics, difficult deciphering of melismas and violations of the author's order of the plays.

In conclusion, I would like to say that the study of Bach's works is, first of all, a great analytical work. To understand Bach's polyphonic pieces, special knowledge is needed, a rational system for their assimilation is needed. Achieving a certain level of polyphonic maturity is possible only under the condition of a gradual, smooth and continuous increase in knowledge and polyphonic skills. Every teacher who lays the foundation in the field of mastering polyphony and polyphonic technique always faces a serious task: to teach people to love polyphonic music (as well as polyphony in any other music), to understand it and to work on it with pleasure.

Conclusion

Bach's great love for the organ did not rule out his creative interest in the clavier. Bach was one of the first to truly appreciate the potential of this instrument, its versatility; he outlined the development of piano music in the 18th and 19th centuries. In his work, Bach focused on different types of instruments that existed in his time. He wrote for a strong and resonant harpsichord with several manuals and for a small clavichord with a less bright but melodious sonority. None of them satisfied him and the newly appeared and still very imperfect hammer piano. His artistic ideas required other means. Many of Bach's compositions do not "fit" into his contemporary clavier, they seem to be written for an instrument that does not yet exist, but whose appearance the composer unmistakably anticipates. With all his creativity, he, as it were, suggests the ways of development and improvement of the instrument itself.

In his creative searches, Bach repelled from the traditions that existed in his time. As noted above, in the first half of the 18th century, the clavier was mainly a domestic instrument, as well as a teaching instrument. The circle of his expressive possibilities seemed rather limited to the musicians. His figurative sphere was genre scenes, sometimes the lyrics are subtle, although not always deep.

Bach's innovation lies, first of all, in enriching the content of clavier music, in a bold expansion of its figurative range. In terms of their significance, the composer's clavier pieces are not inferior to his organ or vocal-instrumental works. Bach proved that clavier music can reveal the most intimate lyricism, and deep philosophical thought, and festive elation of feelings, and spiritual confusion. It is capable of embodying images of the inner world and objective images, revealing them very concretely (for example, tracing the development of feelings in detail) and generally (for example, conveying the dynamics of life itself). New, most varied content became the property of clavier art.

The sonorous, clear and rather quickly fading sound of the harpsichord encouraged composers - Bach's contemporaries to create mobile music, finely decorated with melismatics (especially in slow pieces), often energetic, motor, but always based on a clear finger strike. Bach felt the new possibilities of the instrument - to subtly convey the meaning of the detail. It is on this that Bach bases his clavier themes. Their expressiveness is extremely concentrated. Everything is essential here - pauses, leagues, phrasing. Separate intonations acquire a special convexity, weightiness. Bach stubbornly seeks to overcome the “impact” of the instrument: in contrast to the established tradition, he tries to reveal a new quality in it - melodiousness. This interpretation of the clavier is connected with the figurative world of Bach's music, with its deep lyricism.

Bach's innovative approach to the clavier was also manifested in the versatility of his interpretation. The composer proved that this instrument can be not only chamber, but also bright, concert, suitable for performance not only at home, but also in front of a large audience.

The appeal of J.S. Bach to the future of musical art, his involvement in each subsequent era is the main facet of his all-encompassing genius.

Full of sharp contradictions and tragic collisions, the 20th century could not do without close and constant communication with the music of I.S. Bach. Big number outstanding musicologists, composers, performers seeks to know the essence of the mysterious phenomenon of this great composer's work. The desire to feel the real connection of J.S. is becoming more and more insistent. Bach with modernity.

Among the great interpreters clavier creativity Bach can name the following names: S. Richter, G. Gould, S. Feinberg, J. Zak, M. Pletnev, T. Nikolaeva.

Creativity I.S. Bach is necessary not only for those musicians who play instruments that have retained their appearance from Bach's times. The modern piano, established in musical practice after the death of the composer, cannot do without his music. Even the reconstructed folk instruments of different national cultures, striving to enter the sphere of professional art, widely use transcriptions of J.S. Bach's works.

Centuries pass, generations change, and Johann Sebastian Bach appears to mankind more and more grandiose, majestic, like a mountain peak - to travelers moving away from it.

Bibliography

A. Alekseev "Methods of learning to play the piano." M., 1978

I. Braudo "On the study of Bach's clavier compositions in a music school." L., 1979

V. Galatskaya “I.S. Bach. M., 1966

N. Gerasimova-Persian "Bach and Modernity". K., 1985

M. Druskin "History of foreign music". M., 1983

N. Kalinina "Bach's Clavier Music in the Piano Class". L., 1988

S. Lyakhovitskaya "Assignments for the development of independent skills in learning to play the piano." L., 1975

J. Milshtein “The Well-Tempered Clavier of I.S. Bach. M., 1967

G. Neuhaus "On the art of piano playing". M., 1988

V. Protopopov “Principles of the musical form of I.S. Bach. M., 1981

G. Khubov "Sebastian Bach". M., 1953

A. Chugaev "Features of the structure of Bach's clavier fugues". M., 1975

A. Schweitzer "Johann Sebastian Bach". M., 1965

Response plan

I. Conditional division of work into several stages, their interrelation and partial interpenetration.

II. Stage 1 - familiarization with the work and its analysis. Acquaintance with the content, editor's choice. Parsing. The game by heart.

III. Stage 2 - detailed work over the work. sound. Phrasing. Dynamics. Agogics. Fingering. Pedaling. Technical difficulties.

IV.3 stage - "gathering" of all parts into a single whole. Climax. Thinking in big chunks. Finding the final tempo. Working on the form: features of working on a large form.

V. The final stage is the performance on stage.

I. Conditional division of the work into several stages, their interrelation and partial interpenetration.

Work on a piece of music largely depends on the piece itself, the complexity of its content, and the actual pianistic difficulties. The study of a piece of music is a holistic process, but it can outline certain milestones or divide it into 3 stages:

1. Acquaintance with the work and its analysis.

2. Detailed work on the work.

3. "Collecting" all sections into a single whole.

It should be borne in mind that such a division into stages, although correct, is very conditional, since one stage, firstly, smoothly and often imperceptibly passes into another; secondly, very often there is a return to the work already done (for example, playing the notes, as if anew, of a text already learned by heart, or a return to a slower pace, which is possible in the process of learning a piece repeatedly).

The goal of working on a musical work is a bright, meaningful, technically perfect performance, which reveals the most essential features of the artistic image of the work. It must be remembered that a lifeless game, not warmed by the warmth of the performer's feelings, does not captivate the listener.

II. Stage 1 - familiarization with the work and its analysis. Acquaintance with the content, editor's choice. Parsing. The game by heart.

The world of musical images is extremely vast. Each work of art has its own range of images - from the simplest to those striking in their depth and significance. Whatever the student plays, be it " children's album» Tchaikovsky or Mozart's sonata, a play by Khachaturian or Bartok - he needs to understand this work, to accurately determine its content. It is very important that the work equally captivates both - both the student and the teacher. The teacher must be passionate in the first place, otherwise he will not be able to help the student understand and reveal its content. Therefore, the process of familiarizing the student with the work is of great importance, during which the teacher should try to reveal the musical and artistic essence of the work. This is especially important in classes with elementary school students. Sometimes the name, the epigraph help the student's perception, but not always. Music does not give visible images, it does not speak with words and concepts, it speaks only with sounds, but it speaks as clearly and understandably as words and visible images speak.

For a deeper understanding and understanding of the composition, the teacher introduces the student to some facts from the life of the composer, characterizes the era as a whole, draws parallels with his other works (symphonic, instrumental). In the process of work, it is possible, in addition to the pedagogical display, to listen to the recording and even various recordings of the student being studied, and even better than other works of this composer. It should always be borne in mind that the record should not be an example to follow.

It is important to delve into the features of style, melody, modal features, the national side of music, form, texture, and so on. It is important to understand whether the student is dealing with the edition or the original text and, if necessary, also refer to other editions to select the most appropriate one.

In this process, the student's own performing concept gradually matures.

2. Parsing skills.

There are two types of performance according to the notes of an unfamiliar work - analysis and sight reading. Parsing is the slow playback of text, allowing stops for a more thorough study of the text. Sight play is the performance of an unfamiliar piece at a pace and character close to the required one, not allowing even fragmentary pre-playing.

The skills of parsing and reading from a sheet are instilled in the student from the first years of study, this work should be the focus of the teacher.

When parsing, the entire fabric is examined as if under a microscope, not a single indication of fingering, not a single stroke is missed. The student should be taught to disassemble first small completed constructions, achieving the accuracy of reading the text. In the lower grades, analysis by separate hands is necessary. At an older age, this often becomes unnecessary. An exception is the analysis and performance of polyphonic music, which at any stage of learning requires playing by voices and individual structural elements.

It is necessary to teach the student to have a meaningful attitude to the text, to look through it with his eyes before playing, trying to hear the musical content of the musical text with his inner ear.

When parsing, there are often errors in rhythm, false notes and insufficient attention to fingering. These shortcomings must be eliminated.

3. The game by heart.

The game by heart is natural and convenient for the student, but he should be warned against memorizing an illiterately parsed text. The more difficult it is for a student to make a competent analysis, the more careful one should be with learning by heart. It is necessary to understand the logic in the sequence of sections of the work, the structure of this or that section, to present its harmonic plan, the pattern of figuration, and other characteristic features. Mechanical, thoughtless learning is associated with motor memory, which can fail on stage, so you must always learn consciously.

A good test of competent memory performance is the performance of a piece at a slow pace. “If a person, when he plays by heart, is told to play more slowly and it will become more difficult for him, then this is the first sign that he actually does not know by heart, does not know the music that he plays, but simply babbled it with his hands. This chattering is the greatest danger that must be fought constantly!” - One cannot but agree with these words of A. B. Goldenweiser.

III. Stage 2 - detailed work on the work. sound. Phrasing. Dynamics. Agogics. Fingering. Pedaling. Technical difficulties.

Conscious work on a work presupposes a well-developed auditory representation, i.e., clear hearing with the help of inner hearing of the specific goal that the student is striving for in this moment. Correct, deep comprehension of the text gives rise to precise, rational movements of the pianistic apparatus.

It is very important at this stage to show the teacher, supported by explanations.

1. The sound of the instrument

One of the most important problems of the second stage of work on the work is the sound of the instrument. It is necessary to instill in the student a love for a natural, full, soft, juicy sound. To achieve this, you need to show, the student must be able to feel the keys. If the student does not have the fullness of the sound, it is the fault of the teacher.

There are almost no cases when a student does not need to study a work or some part of it at a slow pace and expressively in order to hear the length of the sound. K. Igumnov said: “... work slowly and expressively in order to hear the length of the sound, so that the sound “flows”. These skills need to be nurtured. Fast, light-sounding episodes are also learned at first with denser fingers, more full-sounding.

In parallel with this work, you need to look for the sound of the main melodic line. The student needs, first of all, to master the ability to "listen ahead", that is, purposefully lead the melody by ear.

It is very important to have a variety and colorfulness of sound. A child, in order to learn this, first of all must have sound baggage, must listen to a lot of music; Student independence in these matters should be encouraged in every possible way. The repertoire that the child plays should be one that encourages colorful reproduction.

2. Phrasing

Great importance in the work on the work should be given to phrasing, breathing, caesuras, consciously expressive and melodious play of each melody.

“In every musical phrase there is a point, which is the logical center of the phrase,” K. Igumnov believed. “Intonation points are, as it were, special points of gravity on which everything is built. They are closely related to the harmonic basis.”

Often, students of a music school have to be reminded that the line of a musical phrase must also be drawn with a stroke non legato. Starting with the simplest works, the student needs to explain the role of breathing and the caesuras that reveal it, understanding the meaning of musical "punctuation marks".

It is necessary that the student master the skill of performing a melody in any texture: both when playing chords and when playing polyphony.

3. Dynamics.

It requires, like all other details of the work, a conscious approach and learning. It is important to explain to the student that at the beginning of the indication of crescendo, one must play quietly and, on the contrary, the beginning of diminuendo does not mean a sharp piano.

The student needs to master various types of forte and piano. The scale of dynamic gradations is essentially infinite. Its richness depends on the subtlety of perception and the skill of the performer.

4. Agogika - a sense of rhythm, meter.

When working on a piece of music, the teacher and the student must take into account that there are two concepts - the live rhythm of music and the musical meter. The teacher must instill in the student a correct sense of both meter and living rhythm. On the one hand, the game requires temporal accuracy, on the other hand, the expressive meaning of the work makes its own demands. It is necessary to educate the student's ability to feel that time line that cannot be crossed. In addition, each epoch and each style quite accurately determines the limit of permitted agogic deviations, and the teacher must teach the student the correct sense of the degree of this permissibility.

Rhythmic freedom is the use of acceleration, deceleration, elusive draws that emphasize harmonic beauty.

5.A fingering

It is necessary to instill in the student a clear understanding that fingering does not tolerate inattentive attitude and work on its choice is the most important stage in learning a piece. It is especially important to learn those fingers that are affixed by the author. Since this, of course, will emphasize stylistic features and is often the key to correct phrasing, which means more accurate penetration into the author's intention.

Of particular importance is the choice of a convenient and correct fingering in the game of virtuoso passages, when automation of movements is necessary.

6. Pedalization.

From the very beginning, it is necessary to educate the student in a sharply negative attitude towards the “dirty” pedal, and vice versa, to encourage him to listen with pleasure to the pedal sound of a deep clean bass or a wide chord. The student must know that only the ear controls the pedal. It is necessary to explain to each student who begins to play with the pedal why it is needed in this particular case: whether it is necessary to attach the bass to the main harmony and hear the overall sound, whether several chords or sounds of a melody that are far apart from each other should be connected together; whether to emphasize the final chords of the piece with the pedal.

7. Technical mastery of the work includes two groups of tasks:

1. difficulties not related to quick execution;

2. work on virtuosity.

In technical work, the main thing is to find convenient pianistic movements, their reasonable economy, simplicity, naturalness and purposefulness of pianistic techniques. The main work is carried out at a slow pace, the transition to a fast pace is associated with solid learning and the ability to think quickly and hear all the learned tissue with inner hearing.

At a fast pace, automation of movement is necessary, fast motor orientation on the keyboard. Here, thoughtful fingering and understanding of small positions, which make up the entire musical fabric, is obligatory.

All techniques should merge with the music, there should be no formalism in fulfilling the will of the author. Work at this stage should be distinguished by special care, perseverance of both the teacher and the student in achieving the best result. The reason for the failure to work on any difficulty may lie in the insufficient number of classes.

IV.3 stage - "gathering" of all parts into a single whole. Climax. Thinking in big chunks. Finding the final tempo. Working on the form: features of working on a large form.

The development of the ability to embrace the entire work as a whole and to perform it wholeheartedly is a very important section of education. A gifted student who has a good “sense of form” and is sufficiently prepared can do a lot in this direction on his own, but he also needs the guidance of an experienced teacher. In this case, the teacher requires specific instructions, demonstrations on the piano, and systematic attention to this side of the student's work.

1. One of the most important prerequisites for the integrity of the performance is a sense of the general line of development of the work. Just as a melody in a phrase goes to its reference sound, and large constructions to its semantic peak, the development of the work itself is also purposeful. The student must know and feel this. How larger work, the more difficult it is to feel the integrity of its development. The role of the center of the work is performed by climax. If there are a number of climaxes in the work, then you need to find their ratio in importance.

“The listener gets tired when he hears the pianist, in whom all the episodes are equally high, intense,” says K. Igumnov, “this contributes to the fact that the culminations cease to act as climaxes, but only torment with their monotony. The culmination is good only when it is in its place, when it is the last wave, the ninth wave, prepared by all previous development.

2. Thinking in short segments (units, details) makes the performance smaller, while the student needs to think big in music, be able to combine large sequences. Some obstacle to achieving integrity is the exaggerated role assigned to details. This happens when careful work on expressiveness becomes an end in itself. It is clear that for all its necessity, this work should not go to the detriment of embracing the whole.

3. At this stage of studying the work, the final tempo for this student is specified. The main thing is to find the pace at which he can reproduce all the subtleties. In a large form, the tempo must be searched for in a single, well-sounding episode. In any case, the transition to a fast (final) pace means a rapid movement of thought, which means that the program should be perfectly learned by this moment.

4. Proper holistic performance cannot be achieved without understanding its form. The form, in turn, is inseparable from the content of the work.

3-part form

Already in the middle grades of the music school, a student often comes across plays written in a simple three-part form. In this regard, we have to talk about the mood and character of the 1st part, the contrasting (or not) middle and the return of the music of the beginning. The teacher must direct the student's perception in such a way that the reprise is not only a repetition for him, but would be a continuation of development.

In working on a three-part form, it is necessary to feel the boundaries between sections, to identify and feel their meaning. But one must beware of the other extreme - exaggeration of the significance of any one of the sections of the work.

Variations

When working on variations, it is very important to convey to the listener the nature and meaning of the theme. Then it is necessary to identify the appearance inherent in each variation, but at the same time it must be remembered that a single variation is not an independent work, but is only part of a cycle. The climax, as a rule, is the last variation, as if generalizing the whole work.

Rondo

It is most difficult to feel the integrity of development in the form of a rondo. The frequency of repetition can make the performance monotonous and static.

Concert

Working with a student on a concerto, the teacher may encounter the fact that the student sees a desired rest in the orchestral tutti. It is necessary to listen to the whole, albeit distributed among the parties.

V. The final stage is the performance on stage.

The last, final stage of work on a piece of music is very important - its bright, artistic performance on stage.

The program is ready when the student feels free, wants to go on stage. It is better that this happens 2 weeks before the performance, the rest of the time should be left for improvement, improving what has already been learned.

Public speaking, especially successful ones, makes a child successful. The teacher cannot guarantee a good result on stage, but he must do everything for this. Pupils are different - with an innate bright personality and, on the contrary, closed, "dim". Congenital performing brilliance is a sign of artistic talent, and it is not characteristic of everyone. The emotional beginning in the student must be developed and developed in the classroom so that the work does not sound pale and gray on stage. Pupils "dim" need to be given bright music so that they can somehow unfold themselves, reveal themselves in it. You need to give what you like, what involuntarily evokes emotions.

A very good trick is to play the whole program before the performance. Another technique is to record the student on a video camera with further listening and analysis. It is quite possible to repeatedly record so that the student sees progress, which, ultimately, will increase his confidence in his abilities.

main reason failures - stage excitement. It is necessary to strive to overcome it so that a bad psychological astra does not appear.

IV. Independent music-making of students, public performance of independently learned works

Independent music-making of a student is the most important form work, which, firstly, allows the teacher to objectively assess the degree of knowledge and skills accumulated by the student, and secondly, increases the independence and, often, the student's motivation for studies and self-development. The teacher should in every possible way encourage the independence of the student, create favorable conditions for this, in particular, give the opportunity for public performance of independently learned works (these can be thematic class concerts, various intra-school events or tests for independent work included in the plan of the educational institution).

Of particular benefit in the development of the student is the process of independent learning and performance of a work in the case when the student is given a certain freedom in the choice of repertoire for this kind of music-making.

Application.

PERFORMANCE AND METHODOLOGICAL ANALYSIS OF THE WORK

Sample plan (option one)

II. The means by which the composer creates these musical images (the style of the composition; genre specificity, rhythmic and tempo features; the structure of the melody; tonal plan, harmonic and modal features, the form of the composition, developmental features, climax zones).

III. Expressive means by which the performer realizes the composer's intention on the instrument (intonation and phrasing of the melody; dynamic composing plan, agogic features, articulatory moments, pedalization features, etc.).

Plan - analysis of the performing and pedagogical features of a musical work (second option)

1. Characteristics of the style of the composition, features of the author's creativity, the main musical image of the composition.

2. Genre features of the composition, size analysis, tempo characteristics.

3. Analysis of the form (sections, parts).

4 . Analysis of the invoice, its features.

5. Tonal plan of the piece, characteristic modulations.

6. Features of the melody, the nature of intonation, the construction of motives, phrases.

7. Features of articulation, touch.

8. Rhythmic and metrical difficulties.

9. Harmonic and modal features.

10. The nature of the dynamics at the culmination points, cadences, the nature of the general sonority.

11. Features of agogics, movements, caesuras, pauses.

12. Analysis and placement of a possible pedal.

13. Pianistic features: coordination, fingering features;

14. The purpose and role of the play in the student's repertoire; the level of difficulty in the music school repertoire.

Introduction

The work of a teacher in a music school is very difficult: he deals with students of various degrees of giftedness, he has to develop the most complex performing skills, keeping within a strict time limit for classes. He must have not only deep knowledge, but also a very high technique of pedagogical work: be able to properly approach each student, taking into account his individual abilities, find the right solution to a particular issue in a variety of situations, be able to use the limited time of the lesson as expediently as possible. in order to have time and check the results of the student's homework, and give him clear, memorable instructions, and have time to provide the necessary assistance in working on a piece of music.

The teacher-musician is required to be constantly responsive to the artistic content of the musical works on which the student is working, a creative approach to their interpretation and ways of mastering their specific difficulties.

The teacher should be able to look with fresh eyes every time at the artistic piece of music passed by the student. Even in cases where it is difficult to find a new detail of interpretation in a long-familiar work, it is almost always possible, based on previous experience, to make certain improvements in the process of mastering this work by the student, to speed up the mastery of its difficulties, and thereby do the job. interesting for myself and for the student.

The initial stage of work on the work.

In the process of working on a work, from its analysis to its complete completion, I apply the whole range of techniques. Moreover, the methods of their use are closely related to the exact "reading" of the author's text, in all details and serve the ultimate goal - the disclosure of the sound image. This principle of employment contributes to the achievement of technical freedom, mastery.

First reception.

Work on a piece of music begins with a preliminary listening, which facilitates the analysis of the text. There are two ways to read a new essay:

the first - with the help of a teacher who, by his performance, acquaints the student with the work, inspiring and stimulating him to the upcoming work;

the second is listening to the studied composition in an audio recording, performed by the best pianists. It is very important to listen to a work with musical text in front of your eyes. After a preliminary acquaintance with the new work, it is necessary to analyze it:

• to cover the general structure and character;
• the nature of the parts and the relationship between them;
• main points of interpretation;
• characteristic techniques;
• pay attention to the tempo, tonality (signs at the key), size.

This analysis is carried out in the form of a conversation, during which the teacher plays the work several times in whole and in parts, asks the student about his impressions, asks him some specific questions, makes the necessary explanations himself, and also acquaints the student with the biography of the composer, the work being performed.

Second reception.

Work on a piece of music begins with a careful study of the musical text in slow pace.

The following statement is interesting, referring to the stage of analysis of the text by Konstantin Nikolaevich Igumnov: “You must put all your attention, all the experience of your life into the analysis of the text.”

One of the most crucial moments at the initial stage of the analysis of the work is fingering selection. Logically correct and convenient fingering contributes to the maximum technical and artistic embodiment of the content of the work. Therefore, it is necessary to find the most rational way to solve this problem. You need to think about and write down the fingering for each hand separately.

There may be several options for application solutions. When choosing an option, in some cases one has to take into account the size and characteristics of the hands, in others - with the technical training of a particular student. There are times when some fragments need to be played with both hands together, since the determining factor in the choice of fingering in this place is the synchronism of the movement of the fingers of both hands.

The role of the teacher should be active in choosing the fingering. It is desirable that he write down the fingering always in the presence of the student, providing an opportunity to participate in thinking through the adoption of a particular decision.

Many outstanding pianists-teachers spoke and wrote about the artistic significance of fingering.

GG Neuhaus considered the best fingering, "which allows you to most accurately convey this music and most accurately consistent with its meaning."

Ya.I. Milyptein, who deeply studied this area in piano performance, wrote: “It is hardly necessary to remind how much depends on good, expedient fingering. Fingering affects rhythm, dynamics, articulation, emphasizes the expressiveness of the phrase, gives a certain color to the sound, etc. I will also add that a well-found fingering contributes to memorization, mastery of musical material, and technical confidence.”

Ya.I. Milyntein succinctly and exhaustively defined three main criteria on which the choice of fingering is based: stylistic conditionality (concrete historical), aesthetic conditionality (musical and artistic) and technical conditionality (motor-appropriate).

The middle stage of work on the work.

Third take.

When working on a work, it is very important to draw the student’s attention and devote some time to memorizing and memorizing hand movements, which are closely related to the exact execution of instructions regarding phrasing, strokes, articulation, dynamics, etc. It is natural that it is advisable to practice the movements first with separate hands at a slow pace . Then, playing with both hands, one should coordinate the movements, achieving complete freedom and ease.

Difficult places require attention and more careful work. In order for the difficulties to become clear, first of all, it is necessary to determine their specificity and select the appropriate game techniques.

From the very first lessons, when working on a piece of music, it is necessary to instill in the student the elements of competent musical thinking. Discuss with him the structure of a musical phrase, which should have its own semantic peak and around which the surrounding sounds are grouped, uniting them into one musical thought.

When learning a piece of music, rhythmic control is also important, developing a sense of a single breath, understanding the integrity of the form.

It is very useful to count aloud both in the initial period of analysis, and when performing a finished, learned work. Moreover, at a slow tempo, one should count, focusing on small parts of the bar, and at a moving tempo, respectively, on large parts. Therefore, the teacher must force the student in the class to play, counting, and demand that he do the same at home. Many students naively believe that rhythm can be developed by many hours of studying with a metronome, while excessive enthusiasm for it, on the contrary, deprives them of rhythmic self-control. With the help of a metronome, if necessary, you can check the ability to “keep” the pace, without deviating either towards acceleration or towards slowing down.

Ya.I. Milshtein rightly believed that “music is, first of all, rhythm, order”. At the same time, a sense of rhythm is an indispensable foundation on which the feeling of the live breathing of music, natural agogic deviations and rubato is based.

It is also useful to count aloud when performing articulatory notations. Because, for example, non legato, staccato, staccatissimo assume a certain duration, then with the help of counting aloud it is not difficult to sustain the sound exactly as long as necessary. After all, it is known that the slightest inaccuracy in the performance of articulation can distort not only the character, but also the style of the work.

Expressive possibilities of pianistic articulation not only limited legato, non legato, portato, staccato. There are all kinds of intermediate forms of touch - tenuto, mezzo staccato, etc. Even the same articulatory designations can be performed differently in different cases. For example, staccato students mostly perform quite sharply, tearing the hand from the bottom up, while staccato can be long or short, sharp or soft, lighter and, conversely, heavier, non legato can be emphasized, emphasized or lightweight, soft. In each case, an appropriate reception of the game is required.

One of the important points when working on a work is the element of expressiveness - dynamics. It will help to identify the culminating moments of the work and to study the effects of dynamics, with the help of which the composer conveys the rise in emotional tension or its decline. The student must build a dynamic plan in such a way that the intensity of local climaxes corresponds to their significance in the general emotional and semantic context. With their help, the student will achieve a smooth increase in emotional tension on the way to the central climax and, without abrupt transitions, will make a decline.

As a result, the form of the work will be embraced by a single emotional impulse, a continuous dynamic wave, which will lead to the integrity of the composition.

You can not ignore and mastery pedal nuance. The teacher should constantly pay attention to this, recommend, for example, to set the pedal on their own and further correct and explain why this or that pedalization is preferable. The main thing is to be able to avoid extremes: too economical, dry and, conversely, too abundant pedalization.

The student must deeply delve into and understand all the author's instructions regarding articulation, phrasing, strokes, dynamics, pedaling, etc. All this in a complex will help him to reveal the originality of the composer's style and a particular work.

Fourth take.

At the beginning of the analysis game techniques, movements must be learned at a slow pace. In order to develop well the motor and technical abilities of a pianist, in my opinion, it is necessary to train not so much the fingers as the head.

Some children have naturally excellent finger fluency, but the fingers move without the participation of the head. Such a game, as a rule, becomes meaningless and usually does not represent any artistic value.

When you force the student to “pronounce” each sound, to pass it through consciousness and hearing, the tempo of the music decreases noticeably, since the head still cannot work at the same speed as the fingers.

In other children, on the contrary, there is such a complete and close relationship between the fingers and the auditory sphere and thinking that they cannot play a single sound without first hearing it with their inner hearing. And since their head is also not very well trained, they cannot immediately play virtuoso music in tempo.

That is why, from my point of view, it is important to train the “head” in any case. And this is done in a very traditional way: it is necessary slowly or at an average pace (gradually, as the material is mastered, increasing it) to study technically difficult places until they are obtained in the right way.

Particularly difficult passages, where the fingers are constantly confused and “braided”, can be recommended to be divided into fairly small phrases or intonations, and, gradually mastering them at a moderate pace, make small stops between them, as if skipping the “lagging behind” head forward, because it is she who must lead the fingers sending them "commands" rather than trailing after them. Sometimes these stops are made taking into account the positional principle (according to the fingering feature). You can also divide passages into measures if there are no other guidelines.

The ability to mentally “pronounce” each sound allows you to achieve good articulation when playing fast music.

Fifth reception.

Having achieved the freedom of performance at an average pace, we begin to work on the sound, although from the very first moment of parsing the piece, you need to pay attention to its quality. In this period, it is necessary, using certain methods of sound extraction, to achieve the most accurate and deep recreation of the figurative content of music.

Work on sound is considered the most difficult and painstaking. One of the main prerequisites for achieving high-quality sound is the ability to listen to music - from the first to the last sound, until it disappears. The student must delve into the content of the work, reproduce articulatory and other designations, deeply understanding what the composer wanted to express in a particular place.

To extract a deep beautiful and surround sound, you need to use natural hand weight, sometimes the whole body, and if necessary, add soft hand pressing, if its weight alone is not enough (for example, in young children).

According to M. Long, it was precisely such a deep, but soft pressing of the keys with the fingers that was characteristic of the pianism of Claude Debussy.

Leaning your fingers on the “bottom” of the keyboard, you should also feel the opposite end of the “lever”, which should be in the lower back, and not in the shoulder joint, as with some students. After all, the shorter the “lever”, the worse the instrument sounds: the sound is sharp, knocking, devoid of overtones.

When playing chords or octaves, in addition to using the weight of the hand and body, you need to “grab” the keys with your fingers, thereby absorbing the blow. The shoulder girdle should be lowered and absolutely free.

When playing the cantilena, you need to gently, but with pressure, transfer the weight of the hand from one finger to the other, making sure that each subsequent sound occurs without “attacking”.

When working with a student on sound, it is important not only to draw their attention to professionally competent sound production, but also to educate them in an aesthetic attitude to sound as a carrier of an artistic image. The performer must be able to express with the help of sound a variety of emotions, the most intimate movements of the soul. This should be taught from an early age. The student must understand the difference between the concepts: “joy” and “joy”, “soft sadness” and “deep sorrow”, “anxiety” and “confusion”, “humility” and “submission”, etc. You need to learn to express all these emotions and states of mind with the help of the nature of the sound.

G.G. Neuhaus wrote: “Only one who clearly hears the length of the piano sound... with all the changes in strength... will be able to master the necessary variety of sound, which is necessary not only for polyphonic playing, but also for a clear transmission of harmony, the relationship between melody and accompaniment, etc., and most importantly, to create a sound perspective that is as real in music to the ear as in painting to the eye.”

A. Mndoyants in his notes “On Piano Pedagogy” writes: “Performers of classical music must understand that the degree of impact of their playing on the audience depends on the power of the sound stream. Figuratively speaking, the sound, like an arrow of Cupid, fired from a bow with a tight string, should not only reach the listener, but also pierce his heart. If the bowstring is loosely stretched, then the sound will either not reach the listener, or will not be able to penetrate his soul.

Sixth reception.

The use of all techniques and methods in the study of the work also contributes to memorization. Since one should learn by heart as soon as possible, one must rely not only on the auditory-motor type of memory, but also on analytical, visual, emotional memory. And if we adhere to Ya.I. Milshtein's interpretation of musical memory How concepts of volume, then we can add that "it includes both auditory, and logical, and motor components."

There are many methods and ways of memorizing musical text by heart.

Noteworthy is the method proposed by I. Hoffman. He writes: “There are four ways to learn a piece:

1. For piano with sheet music.
2. Without piano with notes.
3. For the piano without notes.
4. No piano, no sheet music.

The second and fourth ways are, no doubt, the most difficult and mentally tiring; but on the other hand, they are better conducive to the development of memory and that very important ability called “reach”.

I advise my students to learn separately the part of each hand by heart, I think that this method makes it possible to better listen and remember all the major voices, minor ones, the entire texture as a whole. The use of this method also eliminates inaccuracies, ensures maximum “self-listening”, self-control, which contributes to the exact execution of all instructions prescribed by the composer, without which there can be no good performance. With its help, a deeper understanding of the content of the work in all details is achieved.

A very useful way of consolidating memorization is to train in the ability to start a memory game from many strong points, for example, from the second sentence of a side game or from the second part of the development, etc.; there may be other ways of defining strong points, for example, “start from the moment of the appearance of such and such a modetonality” or “from the appearance of a certain figuration in accompaniment”, etc.

The ability to start a piece from many strong points provides a clear coverage of the piece as a whole and leads to great confidence in playing. Indeed, in order to be able to start the game without difficulty from one or another strong point, you need:

• be able to quickly and abbreviated imagine the entire course of the work;
• be able to quickly concretize game images in this paragraph and, by an effort of will, turn on the exact course of movements.

The ability to play from strong points without much difficulty is achieved if the student, having learned to play the whole work from memory, does not stop playing separate sections from memory.

It is very useful to play a composition from memory “from the end”, that is, first from the last strong point, then from the penultimate one, etc., etc. A student who knows how to do this is almost completely guaranteed against any “accidents” in the area of ​​​​memory during a performance, since at any moment he can both cover the course of the work as a whole and imagine any specific section.

The student should be reminded that after he has learned a piece by heart, he must constantly return to the lessons on notes, continuing to study it. Only in this way can one deeply delve into the musical content of the work.

Seventh reception.

After technical difficulties have been overcome, the work is memorized, analyzed in detail, it is useful to play it in its entirety at the pace indicated by the author. When determining the tempo of a work, one should be guided not only by tempo notations ( allegro, molto allegro, moderato, andantino etc.), but also take into account remarks regarding the nature of the music (grazioso, bravura, mesto, etc.). When performing a work at the indicated tempo, one should realize and feel the continuity of melodic development, gradually rising to the climax, unfolding it, “sequentially reaching the epicenter” (Y.I. Milshtein’s expression).

At the same time, it is necessary to reproduce the thoughts, feelings of the author, his style, enriching his performance with the skillful use of agogic means, various dynamics. Similar phrases should be played differently, moving the semantic centers, just as in human speech. Repeated execution entirely at the indicated tempos is undesirable, primarily because technically difficult passages need constant slow “polishing”. At the same time, when working on a work, one must strive

less to perform it entirely in order to preserve the sharpness of emotional perception and recreate the artistic image.

The student needs the active help of the teacher and in the process of comprehending and recreating agogics.

Here are two options (or methods) of work in this direction:

• the teacher conducts during the student's game, controls the tempo and at the same time directs agogic directions in one direction or another;
• the teacher controls the tempo and agogics of the game with the help of a joint performance with him, this allows the student to “prompt” other performing techniques - articulatory, dynamic, sound. Usually the student instantly perceives the intentions of the teacher, obeying his will, “follows him”, follows the techniques, movements of the hands and fingers of the teacher and at the same time corrects his shortcomings and often with the help of external imitation the student achieves the main thing - a good sound. This method is very effective in understanding the content of the music in all its details, as well as in acquiring performing freedom.

Further, studying at home, without the help of a teacher, the student gradually achieves independence, masters the skills self-expression. Going first along the path of imitation, he begins to bring his own into the game, showing initiative in the implementation of his own artistic intentions, this allows the student to develop a sense of proportion and instills artistic taste.

After making sure that the student has achieved a certain performance freedom, the teacher should step aside, giving the opportunity to play independently and preferably the entire work, without stopping or interrupting the game. At the same time, he should not stop following the notes with his eyes for the accuracy of the performance.

The final stage of work on the work.

The objectives of the final stage are to achieve:

a) the ability to play a piece with complete confidence, conviction, persuasiveness;
b) the ability to play a work in any environment, on any instrument, in front of any listeners.

Perfect confidence and conviction in performance is achieved when there are not only no rough edges or logical inconsistencies left in the game, but when all technical and artistic “doubts”, all difficulties in the work of the imagination, all motor “clamps” are eliminated.

At the final stage, again, the previously mentioned methods of "reinforcing learning" continue to play a huge role: slow mental playing, very slow playing on the instrument, playing from strong points. By no means should one neglect the slow playing by notes - this strengthens the game images and protects against accidental clogging of the game.

At the initial stage of work on a piece of music, it was said about the expediency of listening to it in an audio recording for the purpose of familiarization, at the final stage it is very useful to listen again to an audio or video recording of a work when it is ready for public performance. This allows you to compare your interpretation with another. As a rule, the student, having already his own idea, perceives it with a share of criticism.

The teacher should be able to insist on the student before a concert performance, inspire him to believe in himself, and after the performance, note the positive results, not scold him for mistakes and failures, and show correctness in expressing criticism. The negative reaction of the teacher to the failures of students usually causes them to fear public speaking and self-doubt. The teacher must be professionally demanding, persistent and kind. Noting the shortcomings of the student and drawing the appropriate conclusions, he obliged patiently follow the path to eliminate them.

Conclusion

The role of the teacher in the process of learning a piece of music is enormous. His participation should be active and creative from the very analysis of the text until the moment the student enters the stage. During classes, the teacher, sitting next to him, must carefully monitor his game, drawing the student's attention to the exact reading of the musical text and the implementation of all the author's instructions. Showing the tricks of the game, you should explain what the essence and importance of their use.

In the process of working on a work, the teacher must constantly eliminate inaccuracies in the methods of the game, correct shortcomings in the setting of hands - after all, there can be no good game without good hands.

Work on a piece of music has no limit. It continues after the concert performance. Skills for public speaking are acquired both in the classroom and at home, as well as on the concert stage. The student should be constantly reminded that the concert environment requires full concentration. This is one of the most important conditions for overcoming anxiety.

In conclusion, I would like to suggest schematic sequence in the work on a piece of music, assuming that it is not the only and absolute.

Bibliography

1. Barenboim L.A. For half a century / Essays. Articles. Materials. - L .: Soviet composer, 1989. - 368 p.
2. Mndoyants A.A. Essays on piano performance and pedagogy. - M .: Publishing house of TsMSh at MGK im. P.I. Tchaikovsky, 2005. - 86 p.
3. Sedrakyan L.M. Technique and performing techniques of the piano game: textbook. manual for university students studying in the specialty "Music Education". – M.: Ed. VLADOS-PRESS, 2007. - 94 p.
4. Tsypin G.M. Learning to play the piano: Textbook for students ped. institutes on special "Music and Singing". – M.: Enlightenment, 1984. – 176 p.
5. Shchapov A.P. Piano lesson at a music school and college. - M .: Classics-XXI, 2001. - 176 p.

Grade 1 Grade 2 Grade 3 Grade 4 Grade 5

Methodical work

Work on plays by E. Grieg in the middle classes of a music school

Blazhnova Olga Markovna,
piano teacher
Children's art school, Fryazino, Moscow region

1. Features of the creative method of E. Grieg and character traits his style.

2. Analysis of some piano pieces by E. Grieg. Definition of work tasks and ways to solve them.

3. Conclusion.

National and global importance Grieg's art is best revealed in those brief words in which he expressed his creative credo, his goals and tasks as an artist: “I recorded the folk music of my country. I drew rich treasures from the folk tunes of my homeland, and from this still unexplored source of the Norwegian folk soul I tried to create a national art.

Grieg told the whole world about his country. About the uniqueness of Norwegian nature with its rocks, fjords and gorges. About the quirkiness of the climate: spring blooms on a narrow strip of the coast, a warm current warms these places, making them a blooming land. And a little further, in the mountains, there is snow, a harsh winter makes life very difficult. He told about the life of the people of this country, pressed by the mountains to the sea, who must settle near the water and forever fight with the stone, arranging dwellings on bare sheer cliffs. About the courage of the Norwegians, whose ancestors are the Vikings. Norwegians are courageous and brave, because Norway is a country where there has never been serfdom. Grieg conveyed in music the greatness of Norwegian nature, the free spirit of the people, their amazing sagas and fairy tales.

The melody of Norwegian folk music has a number of characteristic features. First of all, the unusualness of its interval sequences is impressive. This melody carries harmony. Grieg has the same chordal melodic structure. The terts-seventh-chord-non-chord structure of Norwegian melodies implies a hidden harmony. Hence Grieg's tendency to seventh chords and non-chords, to chords of bifunctional significance (overlapping S on D). The variant development of short motifs-chants was also taken from folk music. Often the melodic line unfolds in the form of a complex ornament, in the layering of various grace notes, mordents, trills, melodic delays or short invocative intonations. The introductory tone, overcoming its natural gravity, goes down a third, to a fifth of the mode. This overcoming of modal gravity, which gives the music instability and tension, is one of the essential features of Norwegian folk melodics and has become firmly established in Grieg's style.

The modal features of the Griegian style also stem from the special modal structure of Norwegian folk music, where the tertian tone fluctuates unsteadily between major and minor. It is the modal variability, including major-minor (light and shadow), so characteristic of the composer, that gives Grieg's music a shimmering, iridescent color, with which for us the ideas of the northern landscape are associated. The importance of the Lydian mode in Norwegian music is great. There are features of this mode in almost all Grieg's works, even if the theme is not borrowed from folklore. The fourth high step is also found in the minor. In the harmonic minor, the seventh high degree is often combined with the fourth high degree, forming the so-called “Hungarian” scale with two extended seconds. Often there is a minor dominant in a major and a major subdominant in a minor.

Grieg's harmonic language changed, becoming more complex in his mature years and becoming simpler again in his later works. In general, it is characterized by an abundance of chromatisms, seventh chords and non-chords, a combination of functionally different harmonies.

Of particular importance in Norwegian musical folklore is rhythm, a characteristic feature of which, like for mode, is variability. Capricious change of two and three beats, bizarre placement of accents, syncopation, change of groupings of time signatures - all this is typical for Norwegian folk music. An important factor in it is the very contrast of figurative content, saturation with changeable moods, sudden transitions from pathos to heavy thoughts, from melancholy to light humor, which sometimes gives rise to a special ballad tone, largely coming from the contrasts of life and landscapes in Norway.

Another very important and very expressive detail of Grieg's style is the orchestral sound, timbre diversity. Moreover, the changeability of timbres resembles the change of pictures in a kaleidoscope.

Typical features of Norwegian musical folklore found their own reflection in Grieg's piano music and largely determined the originality of its style. Grieg's interpretation of various folk dances is also of interest. In Norway, dances with double and triple time signatures have become widespread. Three-part dances - springar, springlake - differed from each other in the use of syncopation, accents, characteristic changes in meter, which gave a unique originality to each dance. Double-time dances are divided into two types: 2/4 and 6/8. First of all, these are gangar and halling. Gangar is a pair dance procession, halling (as a rule, has a faster pace than gangar) is a solo male dance, known throughout most of the country.

Grieg's music had genetic links not only with Norwegian national art, but also with Western European culture in general. The best traditions of German romanticism, embodied primarily in the work of Schumann, had a significant impact on the formation of Grieg's creative method. This was noted by the composer himself, calling himself "a romantic of the Schumann school." Grieg, like Schumann, romanticism is close to the sphere of lyrical and psychological aspirations, reflecting the world of complex and subtle human feelings. Other aspects of Schumann's romanticism were also reflected in Grieg's work: keen observation, the transmission of life phenomena in their unique originality - that is, those qualities that determine the distinctive features of romantic art.

Heir romantic traditions̆, Grieg adopted the general principles of "Schumannian", poetic programming, which is most fully revealed in the collections of "Lyric Pieces", which the composer turned to throughout almost his entire creative life. Grieg's piano miniatures have "descriptive titles": they are impressions ("At the Carnival" op. 19 No3), a landscape sketch ("In the Mountains" op. 19 No1), sometimes memories ("That Was Once" op. 71 No1) coming from the heart, Grigovian light and specifically "northern". artistic purpose the composer is not the embodiment of the plot, but, above all, the transmission of elusive moods that are born in our minds by images of real life.

Schubert's work also had a significant impact on the formation of the worldview of the Norwegian composer. Schubert's perception of nature, the purity and integrity of his poetic images corresponded perfectly to Grieg's artistic aspirations. He could not help admiring the art of harmonization, Schubert's coloristic discoveries.

Grieg highly appreciated the music of Brahms, no doubt creative contact with Mendelssohn and Chopin, did not go unnoticed by the composer and the achievements of Wagner.

It is also necessary to say about the inner relationship between the young Norwegian school and creativity French composers. Grieg noted "the light, natural form, transparency, clarity, euphony of French art", finding that Norwegian art has similar features. Grieg's anticipation of the features of impressionism, especially in the field of harmony and color, is well known. On the other hand, in musicology it has also been repeatedly emphasized that the creative searches of Ravel and Debussy were reflected in the style of the late Grieg.

Grieg's connections with Russian music are deep and organic. Some artistic parallels arise with the work of Rimsky-Korsakov - interest in folk-tale fantasy, rich depiction, more direct use of folk melodies, melodic turns. However, the most indelible mark on Grieg's soul was his acquaintance with Tchaikovsky's work and, especially, a personal meeting with him. Grieg is close to Tchaikovsky by a special lyrical expressiveness, sincerity of melodies, simplicity and naturalness of the utterance “from heart to heart”. An example of this is Grieg's "Lyrical Pieces" and Tchaikovsky's "The Four Seasons" with their poetry of native nature, pictures of folk life and subtle sketches of human experiences.

Musical art is a source of aesthetic development of the surrounding reality, contributes to the creative development of the values ​​of world culture by students. Introduction to the art of music as an important component artistic and aesthetic education, develops the emotional sphere of students, their fantasy, imagination, imaginative thinking.

Musical and pedagogical activity is a complex creative process that requires a teacher to have broad erudition, the ability to compare and find analogies in various types of art, and to have lecturer skills. Of particular importance for a musician-teacher is the method of verbal explanation. The word is an important and powerful means of influence. The use of the method of verbal explanations in music lessons (a story about the composer's work, an explanation, a conversation) should be aimed at arousing genuine interest among students in the piece of music that they will listen to or play. In musical and pedagogical practice, the process of communication between a musician and the author's original source is important, when the performer must "enter" the world of the composer's images, understand, feel and give them an aesthetic assessment. It is this process of comprehensive understanding of the work, its connections with the artistic life of the era in which the composer lived, that contributes to the development of cognitive ability. young musician expands his cultural horizons.

An important role in the formation of the ability to perceive music, the expansion of the general and musical horizons of students should be assigned to the use of the method of associative relations. Immersion in the historical and cultural atmosphere, familiarity with the works of "adjacent" arts, consonant with the figurative content of the studied musical compositions, can enhance the emotional perception of these works.

Getting acquainted with the works of Grieg, it should be noted that his activities are inextricably linked with the historical development of Norwegian culture and with the tendencies of Norwegian public life in the middle of the 19th century. For a long time, Norway bore the burden of heavy dependence on neighboring countries - Denmark, Sweden, which suppressed its original culture. Four hundred years of Danish domination could not but be reflected in all aspects of Norwegian cultural and social life. The second half of the 19th century was marked by the development of the national liberation movement. The composer's work was born of this wonderful time, when in the struggle for political and cultural independence in Norway, it developed and strengthened artistic traditions, its literature, dramaturgy, and poetry flourished. This period is characterized by an active search for forms of expression of the Norwegian language in literature, which was not previously recognized either as a literary or as an official state language.

Most prominent representatives national revival G. Ibsen and B. Bjornson appeared in literature. Grieg's creative collaboration with these writers brought worldwide fame to Norwegian art. Both writers - each in their own way - had a noticeable influence on the formation of the composer's aesthetic views. An important theme of B. Bjornson's dramaturgy is the historical past of the Norwegian people; he is the author of dramas based on the plot of ancient Irish sagas, peasant stories, poetic works and novels. Influenced by the work of this writer, Grieg turned to broad musical and dramatic ideas depicting the majestic past of Norway, and wrote music for B. Bjornson's drama "Sigurd Yursalfar", for Bjornson's dramatic monologue "Bergliot". All these folk-epic works are based on one common idea - the idea of ​​a powerful, beautiful and independent homeland.

G. Ibsen, one of the most talented writers in Norway, also had an invaluable influence on Grieg. In his works, the writer created vivid pictures of modern life. He ridiculed philistinism, denounced the mores of contemporary society. In dramas written on the subjects of the Old Norse sagas, in historical works Ibsen painted strong, courageous, purposeful people, contrasting them with modern inhabitants. Ibsen's drama "Peer Gynt", the image of the protagonist of which is borrowed from a folk tale, has become perhaps the most significant work of Norwegian literature. In 1875, Ibsen invited Grieg to write music for the production of his drama. Grieg became interested in work and created excellent music for a theatrical production, which became an independent work of art that immortalized the name of the composer. Grieg gave his own, different from Ibsen's, concept of the play. In Grieg's music, the satirical side of the drama gave way to lyrical landscapes, folk-genre, fantastic images that were close to Grieg. Grieg spoke with the greatest admiration of the work of Ibsen and own confession was a fanatical admirer of many of his works. The lyrical attitude to nature and people's lives, the subtle movements of the soul of an open, sincere artist are embodied in his miniatures.

Grieg's work was also in tune with modern Norwegian fine art. Landscape painters H. Dahl, Tiedemann and Gude dedicated their work to their native nature and folk life. K. Krogh, F. Thaulov - Grieg's contemporaries - also depicted reality that inspired the composer's creative imagination, created images that were close in many ways to the images of his music. Acquaintance of students with examples of Scandinavian painting and literature, of course, contributes to the development of their associative thinking.

The principle of developing education is realized in two aspects. The first concerns the development of the artistic and aesthetic consciousness of students, introducing them to the phenomena of world musical culture through the study of Grieg's compositions. The other one, the musical and performing aspect, concerns the embodiment of knowledge in the specifics of musical and performing actions. In the practice of teaching musical performance, the main methods of working with a student are the verbal method, as well as direct visual and illustrative demonstration on the instrument. Along with the performing demonstration of the studied works, attending concerts of outstanding performers, an important place in the development of professional thinking of young musicians is occupied by the purposeful use of modern TSO, in particular, sound-reproducing devices that make it possible to involve the necessary audio and video materials in the educational process, in this case, recordings of Grieg's works, made by domestic and foreign musicians-performers (M. Pletnev, E. Gilels, M. Argerich, etc.)

The piano has always been Grieg's favorite instrument. It was to this instrument, dear to him, that he was accustomed from childhood to confide his cherished thoughts. In a long string of piano collections and cycles created by him (“Poetic Pictures”, “Humoresques”, “Cycle from Folk Life”, “Album Sheets”, “Waltzes-Caprices”, “Lyric Pieces”, “Moods”) from early to In recent years, one general sphere of lyrical moods and one general tendency of poetic programmaticity can be clearly traced. This trend is most fully revealed in the cycle of "Lyric Pieces", to which the composer turned throughout almost his entire creative life. Here is what the famous Russian musicologist B. V. Asafiev said: most Grieg's piano work. They continue the type of piano chamber music that is represented by Schubert's "Musical Moments" and "Impromptu", Mendelssohn's "Songs Without Words". The immediacy of expression, lyricism, the expression in the play of predominantly one mood, the tendency to small scales, the simplicity and accessibility of artistic design and technical means - these are the features of the romantic piano miniature, which are also characteristic of Grieg's Lyric Pieces.

Let's turn directly to the musical material and talk about specific things using the example of specific works. These will be the Impromptu Waltz op.47 from the fourth book of "Lyrical Pieces" and the Dance from Jolster from the collection "Norwegian Dances and Folk Songs" op.17.

Having decided to give a student this or that work, we, teachers, first of all resort to its analysis: we solve the issue of accessibility of this work to the student. The content is analyzed, followed by all the components of the structure of a musical work, its musical language. The next stage in the work is the search for performing techniques. It is already directly correlated with the capabilities of the student. Of course, there are general directions in the work necessary for any performer. These are the techniques that both the teacher and his students can use. But there are many more specific techniques that THIS student with his originality will need (meaning physiology, and the emotional component, and, in the end, intelligence and culture). All that was said above is a huge amount of new knowledge for the student. The task of the teacher is to correctly distribute the supply of this knowledge, to find their correct “dosage”. And one more important point: to involve the student himself in the process of analysis. What is understood, assimilated by the child becomes clear and feasible for him. I would like the work on the work to begin with a preliminary acquaintance with the culture of the country of which the composer is a representative, with its history and even geography! It is good when a child immediately has literary associations. In this case, when it comes to the works of E. Giga, one should not demand knowledge of the plays of G. Ibsen, but joint reading and discussion of the fairy tales of G.-H. Andersen will be timely and very helpful. It will also be absolutely necessary to listen to Grieg's music: both piano, and symphonic, and especially vocal. By the time a preliminary acquaintance, in this case with the northern Scandinavian culture, takes place, the text of the work will be mastered in general terms. That's when the most interesting stage in the work on the work will begin - a JOINT analysis of all the components of the work and the subsequent deepening into the text. And then something will be revealed that does not lie on the surface, but is the essence of the work. Not only wonderful details will be highlighted, but also the internal connections that permeate the work, and the necessary performing techniques will be indicated next.

Waltz Impromptu op.47. Consider the title of the play. Impromptu - something that does not have a specific form, written without preparation in the process of improvisation. But common features the forms are just determined quite quickly and even at the first listening. There is a clear 3-partness. Three parts completely repeat each other (only the last climax is missing in the last, third part). Grieg, when repeated, preserves the text completely, down to the smallest detail. Maybe this couplet form, like in the song? After all, such a form is typical for folk music, and Grieg's ties with folk art are extremely strong. Moreover, each of the 3 parts (verses) is also a 3-part form. But let's go further. The next important conclusion from the first attempt at analysis is that all seven pages of the text grew out of one eight-bar theme. In fact, these are variations on an unchanging melody, which, while maintaining the intonational structure and rhythm, changes its character four times: the texture, harmonic language, dynamics, mode, and genre change. When the student understands this, the episodes that make up each large section of the form connect very naturally to him. Each new sound of the theme is now perceived by the student as a meeting with an old acquaintance. And for children, recognition and repetition are very important.

Let's get back to waltz. It is preceded by a two-bar introduction, setting up in a-moll. The more unexpected and surprising the melody sounds in E-dur. This combination (not even a comparison!) of two tonalities and different modes and colors gives an amazing fluctuation, fluidity to the sound on the one hand and impulsiveness on the other. Eight measures of gentle and unstable, broken melody rush through in one breath. This is facilitated by the absence of strong beats in every second bar, which seems to deprive the theme of support and balance and makes it steadily “slide” down. The melody is composed of a chain of chanting, and the range of its sound is small - just a fifth.

The rhythmic pattern of the theme is rather complicated for students in grades 4-5, who are usually entrusted with the performance of this piece. It combines syncopation with embellishments.

I have noticed that often students, “saving” time for the expressive pronunciation of an ornament, begin to play it a little earlier than expected, thus reducing the first syncopated beat. At the same time, in the accompaniment, the strong beat in every second measure comes a little earlier. This error also has its own explanation: the intervals, which are significantly remote from each other, are difficult for the student and do not want to rush. Repeating intervals are often played with a different movement than distant ones. A stroke close to PIZZ. strings is lost, and the intervals converge in time. As a result, the coordination of hand movements is disturbed, and the rhythmic structure loses the accuracy of its outlines, loses the elasticity characteristic of dance. The entire first episode is built on the ostinato rhythm. The described moment, often found in student performance, deserves attention from the teacher, since the accuracy of the reproduction of the rhythmic formula will determine the nature of the work as a whole. The dance genre demands this precision!

An important characteristic of the theme is its modal organization. The juxtaposition of keys, major-minor, the use of a minor dominant, the imposition of keys - all these typically Griegian methods sound brightly in the impromptu waltz. It is they that give a glare, iridescence to the sound, which for us is associated with the northern Scandinavian flavor. Reinforcing intuition with factual material, structural analysis, we can more confidently motivate the student in solving artistic and technical problems.

An interesting feature of the theme is the indication of rubato at the end of sentences. It is very difficult to fulfill this instruction of Grieg, since it applies only to five-eighths.

There is a great danger of going beyond naturalness, of exaggerating the freedom of expression. We can only advise you to examine these eighth notes more closely, to pronounce them with a special feeling. The second sentence repeats the first one in new keys, keeping the same ratio of melody and accompaniment - H-dur-e-moll. This wonderful color technique (overlaying tonalities) requires the student to be able to think polyphonically, hear the volume of the sound, and feel the versatility of the texture. Thus, a seemingly simple topic is fraught with many difficulties of a different nature.

By the third sentence, the dynamics is growing and we can talk about some development of the topic. Grieg does not provide any indication of dynamics as a result of crescendo. Only at the VI low step in H-dur is sf. It can be assumed that the crescendo over eight measures will lead to a rather bright episode. By lowering the introductory tone (la becart), the author seems to delay the climax. And indeed, the real pinnacle of the entire first episode is the following stretto, crescendo and f. The texture is changing: the ostinato waltz accompaniment is gone, the action is shifted to the upper register, the dominant harmony sounds for a long time. Everything marks the beginning of a new episode. For some reason, the author did not set the exact dynamic tone that he wants to hear here in the second episode, but the character is clearly indicated - moltopiulento and cantabile.

What a contrast! The vertical prevails, chromatic harmonies, juxtaposition of keys (a-moll, e-moll, g-moll, a-moll, e-moll) without modulation. There were developed undertones. The breathing became wider, the inter-bar boundaries were erased and the waltz was lost. The author does not use the rubato remark, but the freedom of breath and movement is obvious. The elegiac character of the episode, the deepening into oneself demanded static character: danceability disappeared. But the melody is still the same, its grain has been preserved. However, she carries a completely different image. Even without taking into account Piulento's remarks, one involuntarily has to enlarge the movement, expand the breath. This is not only audible, but also visible in the figure of the text. Cantabile ends in e-moll. And the unexpected appearance of h-moll brings with it a new image, one more look at the theme, as it is it again - in new colors and with a new meaning. Hidden, deaf, fantastic music. Dissonances in harmony (simultaneous sounding of A-becar and A-sharp in different voices) give an ominous and mysterious character to the theme.

Forcing the sound from pp to f for only four bars and, like a flash, a passionate, but at the same time melodious one more climax (already the third one).

The sound volume is small, the melody and accompaniment are close, the low register is not involved. All this suggests that you should not force the sound. It makes sense to reach a climax with the help of internal tension, the rise of feelings. Here it must be emphasized that this climax is another look at the theme, another transformation of it. Thus, the whole work - so many-colored, with such a variety of characters, has grown and is built on just one eight-bar theme. The rhythmic and melodic structure of the theme is preserved. The texture, harmonic language, modal coloring are being transformed. This is Grieg's favorite method of variation.

A few words about what will help the student to feel the integrity of the form of this work, given its volume and diversity. First of all, one should pay attention to the monothematism of the waltz: the presence of a leit theme will help to bring together contrasting parts. In addition, detailed instructions in the text (ritenuto, ritenutomolto, piulento, TempoI, fermata, etc.) provide the key to solving many problems. The Piulento episode simply follows from the previous one, if the author's instructions are followed exactly. The TempoI episode requires an internal overhaul. Here, the duration of the stop should be precisely determined: listen to the e-moll, “say goodbye” to it. A new character must be born before the student can play TempoI. There is no rubato notation in the second culmination, but it is possible to play widely, freely, as if erasing the boundaries of measures, overcoming the waltz.

Dance from Yolster op.17

The genre of this play can be more accurately defined as a dance-march. The combination of features of the march and dance, which already carry a contrast, gives a vivid and diverse picture of folk life and festive events. This play, despite the apparent simplicity of the language, conciseness of expression, conciseness and clarity of form, is fraught with many difficulties. And the first and main task of the teacher is to identify these difficulties, adapt them to the abilities of the student, which will serve as a guarantee of successful work.

First of all, the characteristic features of the work as a whole, the typical features of the style are determined, the general directions of work on the text are found and indicated. To do this, there are generally accepted methods for analyzing a work, that is, considering such components of the text as form, dynamic plan, harmonic language, rhythmic structure, texture, timbre coloring. The subsequent detailed analysis will allow us to talk about some other properties of the work. Considering the form of the “Dance from Yolster”, it must be repeated that it is simple and clear, not causing discrepancies - these are two contrasting parts and a coda. Immediately noteworthy is the fact that the coda is practically balanced in volume with the main parts and, in addition, plays a very important dramatic role, being the culmination of the entire work.

The main parts, as is most often the case with Grieg, are contrasting. From this point of view, it is worth considering all the other components of the text, while simultaneously analyzing the musical material of the two parts of the work. First of all, this is a genre contrast: a dance-march is replaced by a dance-song. Next, the modal coloring changes - the minor gives way to the major. The metric unit changes - in the second part, the step in quarters is replaced by the step of eighths. Together with marching, the two-part character disappears and the three-part character reigns. Of course, the texture has also changed. She became more transparent. And although the author does not introduce any new designation of tempo, the movement clearly becomes more calm in the second part, allowing you to pay more attention to the details of the text and move from the active character of the exposition to the contemplative one. The same transformation of character is also evidenced by the change in phrasing in the second part of the work, which takes us away from a four-bar to a two-bar followed by a fermata. And this fact speaks of the replacement of the effectiveness of the image by contemplation. Another interesting and essential detail of the formation is the unconditional predominance of horizontal thinking in the second part of the dance, in contrast to the verticality of the constructions of the first part. The dynamic development plan of the first part is undulating. As if the sounds of the procession are now approaching, then moving away from us, as it would be in the mountains. We can say about the use of a kind of sound writing by the author. In the second part, the dynamics very gradually, but steadily increases from p to f.

As for the harmonic language, it can be said that the “Dance from Yolster” uses typical Griegian techniques: an abundance of chromaticisms, seventh chords, major-minor, the combination of different functional harmonies (for example, TcD in the 1st measure). The rhythm is also typical of Norwegian folk music and Grieg's musical language: the abundance of triplets, syncopation, first of all, attract attention.

And, finally, a sense of orchestration in a piano piece. The timbres change frequently, like pictures in a kaleidoscope. The spirit of Norwegian folk music shines through in every part of the dance: the sound of a village orchestra consisting of violin, horn and bass is literally heard.

When the general tasks in the work are defined, the features that make up the frame of the work are identified, you can proceed to a detailed and consistent consideration of the details of the text.

The introduction is a calling signal for the beginning of the dance, passionate and hot. The repeated repetition of the tetrachord ends with D: this is a bunch of energy, a spring that we compress. The fermata on the dominant is difficult for students to perform, given the author's remark Allegroconfuoco. Not to let the energy run out as long as possible, the tension in the sound “la”, fading against our will - this is the task of execution. Next comes a “sounding” pause - a pause-waiting, listening, an “active” pause. And, finally, the answer in a high register in a different dynamic, in different colors. This answer, which seems to have arrived from afar, sounding pp, is filled with the same energy. At this point, the student's special attention should be paid, since, as a rule, children associate a change in dynamics from f to p with a change in character, and often with a change in tempo and articulation. The fermata before the beginning of the theme is even more expressive, and the pause is more telling, meaningful.

The author has set out instructions in the text in sufficient detail, and the student is faced with the task of accurately fulfilling all the wishes of the composer. Of course, it is necessary to draw the student's attention to the remarks Allegroconfuoco and Moderatoemarcato. It is at the tempo of Moderato that the theme of the dance sounds for the first time.

It is born out of silence, tense silence. This is still the same introductory tetrachord, which attaches to itself the singing. The sound range is only a small sixth. Two repeated sentences make up a period, but what a vibrant development! The main events take place in the accompaniment. In the first sentence, this is a chain of chords on a sustained bass “d”, which holds back the movement, the development of events. In the second sentence, the accompaniment is released from the ostinato bass and boldly descends, giving room for a dynamic increase from p to ff. The rhythmic pattern of the theme is interesting: it is a combination of quartoles with triplets and syncopation. It is syncopations that present a significant difficulty for students to perform this episode. It is very important to help the child to HEAR the discrepancy between the metric pattern and the rhythmic pattern. If the student fails to push off from the content, sound, you can try to start from the movement: gently take “mi” (the beginning of the motive) from above and “exhale” “la”, removing the weight of the hand from the 4th finger and combining the sounds of the tetrachord with a single movement of the hand. Having taken out this “la” and, as it were, “hanging” it above the keyboard, the hand also gently falls on the accented “sol”. It is “softly”, because the emphasis must be made within pi and nothing more. We must not forget that the accent also applies to the performance of chords, which students tend to forget about. The role of accents is extremely important in pronouncing the theme, because it is they who influence the genre of the play, turning the steps of the march into a dance. The melody will sound very whimsical if you emphasize intonation the “question-answer” comparison inherent in it (the 1st measure and the like). Important point theme development - crescendo in the 2nd sentence. It is carried out not by forcing the sound in the upper voice, which can often be heard in student performance, but by the obligatory parallel increase in dynamics both in the melody and in the accompaniment. At the same time, it is necessary to maintain emphasis, which presents some difficulty. As for the nature of the theme, it is important to convey its quirkiness, capriciousness. This will help an attentive attitude not only to accents, but also to mottos. It is the singing that gives the melody sophistication and grace.

The second episode of the 1st part is more gentle, plastic. There was no trace left of the march. And the formula of the melodic structure is the same - tetrachord + singing. But a large volume of sound appeared, a lot of air, new timbre colors. The accompaniment moved away from the melody. No staccato, everything is flexible, subtle.

This episode is one of the most difficult in the play. You should immediately draw the student's attention to the intonation of motives and to the strokes in the melody and in the accompaniment. They are in “contradiction”: the traditional metric pattern in the accompaniment and syncopated in the melody (although not marked with accents, but implied by the author's forks and the arrangement of intonational leagues). It is very difficult not to rely on the first and second beats in bar 1, not to shoot them staccato. When working with a student on this episode, you will have to start again with movement, since even a 9-10-year-old child already has stereotypes, and he wants to hear a strong beat in his usual place. In addition, the accompaniment is accompanied by an independent voicing, preserving the traditional strong beat. This polyphonic texture further complicates the performance. It makes sense to teach this episode, performing one of the parties with the child, until he has a stable sound representation, which will prompt the necessary hand movement. Thus, work can go in opposite directions - from movement to sound and from sound to movement. Attention should be paid to the phrasing of this episode: fine articulation, short motives provoke the student to think briefly - it is necessary to achieve the appearance of a feeling of steady movement forward, to learn how to correctly “address” the phrase. The student must feel the purpose of the movement. In the 3rd and 4th measures, the intonations of the melody and the accompaniment finally coincide in anticipation of some result - f, heavy steps, exposed accents, octave wide moves in the accompaniment, a thicker pedal. The second sentence is somewhat different than the first. Staccato in accompaniment is not easy to combine with a flexible syncopated melody: complex coordination of movements interferes (the left hand is on top, its proximity to the right hand, which at the same time must maintain flexibility and plasticity). It is necessary to skillfully distribute the weight of the hands, without giving it practically to the left. The last summing bars of the first part are saturated with author's instructions and require their exact reproduction. A common mistake young performers make is ignoring accented out-beats and over-emphasizing the previous tonic resolution, which is the exact opposite of the author's intentions! The middle episode is marked by the appearance of a light D-dur. It brings a feeling of peace, admiring every sound. This is clearly a “feminine” dance or landscape sketch.

In the melodic movement again there is again singing, but the texture of this part is saturated with elements of polyphony. The frets of folk music are widely used: VI low step, VII low step. The 3rd measure is interesting, where “D-sharp” suddenly sounds. The movement is freer than in the 1st part, there is some improvisation. At the same time, it is necessary to observe the permissible measure of freedom, so as not to go beyond style and taste. All numerous fermatas must be justified dramaturgically. You can invite the student to perform them with an interrogative intonation. Perhaps this will make the child listen more carefully and with interest to the long sound. In the 2nd sentence of the 2nd part, liveliness appears and the danceability lost in the 1st sentence returns. The second period is a variation on the theme of the first period. Remark Piumosso - more movement, less stops, interrogative intonations. The accompaniment contributes to this movement, becoming broad, generalizing. Here it is better to use larger thinking - no longer in eighths, but in measures. The next approach, preparation for the climax is complicated by emphasis on weak beats. But it is precisely this “untimely” accent that intensifies the tension and brightness of the transition to the finale.

The coda, brilliant, incendiary, dizzying, requiring not only emotional uplift, but also physical endurance, is significant in volume. It is built on the elements of the themes of the 1st and 2nd parts. The code is difficult not only technically. Its execution, the embodiment of Grieg's idea, requires the student to have mobility of thinking, the ability to instantly rebuild and respond to the frequent turns of events in music. All the details of the text, so carefully noted by Grieg, must be investigated, understood and subject to the logic of dramatic development. And then “strange”, “untimely”, non-standard accents, complex strokes, bizarre intonations will create a unique picture of the Griegian figurative world. It is immediately necessary to draw the attention of a student striving to execute the coda at a dizzying pace, that after the indication in the 2nd part of Piumosso, the author does not change the pace. In addition, the nonlegato stroke prescribed by the author imposes certain tempo restrictions. This nonlegato touch deserves special attention and separate work.

Most likely, you will have to start with a legato stroke to accustom your fingers to their places. And only then move on to nonlegato, which is performed practically without removing the hand from the keyboard and achieving its maximum freedom. The next stage in the work is overcoming shallow thinking: hearing two-bar phrasing. Be sure to draw the child's attention to the difference in emphasis on the 1st and 2nd phrases. This inconstancy, irregularity of accents create a feeling of changeability, instability of the meter and, at the same time, dynamic development. And finally, the final moment Piuallegroesemprestringendo. Here the student's freedom is limited only by his technical capabilities. The persistent combination of the tonic and the dominant in D major over four measures is interesting. The final chords in 2/8 time after 3/8 are effective, gradually stopping the movement and preparing the final chord.

In the work of both a beginner and a professional musician, immersion in the content of the work, in the style of the era and the composer, in the details of the text and in the dramaturgy are closely connected with the technical embodiment of the idea. In talented people, this integrity is carried out naturally and naturally, since, in addition to knowledge and skills, it relies on natural intuition. The less gifted can achieve a great deal through willpower, exertion, through knowledge. And on this path, an invaluable role will be played by the ability to analyze the text, to immerse yourself in it, the ability to understand the wishes of the author, to correctly assess one's own characteristics and capabilities. At the same time, one should not forget (and this should be explained to the student) that there can be many different interpretations of the same work. Each performer conveys the main character of the play in his own way, remaining within the limits set by the author. In the process of working on a work, the initial impression is deepened, intensified, supplemented by various details and details that have certain meaning, logic, meaning as an organic part of a single whole. The identification of these details, details and features is the result of a long immersion in the text, its scrupulous study. Along with musical analysis is excursion to historical science to other areas of the arts. Only a deep, voluminous study of the material gives the right to one's own interpretation of the work. Namely, this (and not just obedient, albeit successful, fulfillment of the will of the teacher) is the goal of the musical education of the student. Next Updated: 20.03.2019 21:38

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