Work on a cantilena play in the middle classes of a music school. Educational portal

REGIONAL MUNICIPAL BUDGET INSTITUTION FOR ADDITIONAL EDUCATION

Znamenskaya CHILDREN'S SCHOOL OF ARTS

TAMBOV REGION

abstract

Work on diverse works in the general piano class

Completed:

piano teacher

Kovalenko B.P.

Znamenka

TABLE OF CONTENTS:

INTRODUCTION………………………………………………………………………….3

From the history of the discipline "general piano"…………………………..5

General principles of work on piece of music…………...7

Work on cantilena …………………………………………………...10

Plays of a mobile character…………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………

CONCLUSION………………………………………………………………….20

LITERATURE…………………………………………………………………...21

INTRODUCTION

Playing the piano as an instrumentgiving a complete picture of the musicaltextures, cannot but captivate the realmusical talent.

N. A. R and m s k i y-K o rs a k o v

Mass musical upbringing and education in Russia, mainlycarried out through educational work in the systemchildren's art schools (DSHI) and children's music schools (DMSH).A retrospective look at the history of formation and principlesfunctioning of the music school system allows us to trace the trendgradual rejection of the general professionalization of the musicallearning.

Today, in the context of the idea of ​​humanization of education, it is of particular relevanceacquires the problem of the development of students by means of music as a form ofart. This thesis is of fundamental importance inin relation to the predominant group of students of the children's music school,not focused on further professional education.Awareness of the primacy of the tasks of the general musical development of studentsinevitably entails adjustments in the structure and forms of workteachers, in particular, rethinking the role and place of the subject in generalpianoinpreparingstudentsChildren's music school.

The subject of the general piano is an important component musical training at the children's music school. Departments or classes of general piano in children's music schools and art schools unite students who practice various musical instruments. A musician of any specialty must be sufficiently proficient in playing the piano: it can play works of any form and genre, music written for any

executive team. That's why in the children's music school and children's art school in the second yeartraining of young musicians, in addition to the chosen instrument, a generalpiano course.

Rich dynamic and means of expression, possibilityplay polyphonic music put forward by the piano asthe most important musical instrument for solo performance, accompanimentand various arrangements of symphonic and other music. pianois a basic tool for studying theoretical disciplines (solfeggio, musical literacy), therefore, for successful learning inmusic school for those studying wind, string, choral andPeople's departments need a course of familiarization with the instrument.

Not all instruments have such a wide range aspiano. A deeper acquaintance with him gives a broader idea of ​​the musical palette as a whole. Classes in the general piano class contribute to diversified development musician - hereskills of accompaniment, reading from a sheet, selection by ear are acquired;thanks to the possession of the piano, it becomes possible to freelyacquaintance with world musical literature. Introduction to thisinstrument allows you to acquire the necessary artistic horizons, genuine erudition.

In our work, we will touch on the history of the development of the general piano discipline, its main tasks in present stage teaching children in children's music schools and children's art schools, as well as in more detail we will dwell on the work on diverse works in the general piano class.

FROM THE HISTORY OF THE DISCIPLINE "GENERAL PIANO"

Learning to play the piano has long been part of the curriculum.training of professional musicians of various specialties.Commonly called these dayscommon piano, this discipline inold times had different names - piano"mandatory", "auxiliary", "piano for everyone", etc. Having become a kind of offshoot from the once single and integral clavier-piano pedagogy, it acquires the rights of citizenship ineducational life from about the second halfXVIIIcenturies, that isat a time when the process ofdifferentiation of individual musical specialties,delimiting them into a number of independent, to a certain extent localindustries.

Gradually, the figure of a universal musician, impressive with his creative versatility, is gradually receding into the past, who, in accordance with the views of the era, is obliged to know and be able to, if not everything, then almost everything in the musical art. The old masters are being replaced by specialists of a narrower profile, who devote themselves entirely to any one type of musical activity, paying attention to achieving the most significant results possible in line with a single profession. However, the following is noteworthy: and live teaching practice new era, and long-term, rich teaching and pedagogical experience accumulated by the art of music - all this irrefutably testified that a truly qualified training of a professional musician of any specialty (be it a composer or a music theorist, a singer or an orchestral musician) becomes unrealistic if piano training in one form or another is ignored. Thus, this training completely and completely preserves the positions it won back in the era of ancient keyboard-string instruments, with the only difference that in new historical conditions it seems to stand out from the former structurally undifferentiated complex of musical pedagogy, organizationally taking shape in a special academic discipline (its various names for the piano “general”, “mandatory”, “auxiliary”, etc. were discussed above). As such, piano teaching “for everyone” is included in the curricula and programs of any reputable musical educational institution (public and private) both in Russia and in Western European countries.

With regard specifically to Russian musical reality, cardinal reforms were introduced into musical upbringing and education by the time following the establishment ofSoviet power. The result of these reforms was the creation of a broad, truly democratic system music education, at various stages and levels of which qualified training is now carried out both for music lovers (studios, courses, circles, children's music schools, VMSh, etc.), and future professional musicians (special educational establishments). Musical education andeducation in RussiaToday it has a mass character, accessible to every member of society. One of the notable places in existing system Mass musical upbringing and education belongs to learning to play the piano, which now performs functions that are even more diverse and responsible than before.

Piano teaching has come a long way since the days of the old school. Numerous, well-trained cadres of teachers have grown; the method of learning to play the instrument has changed; a number of valuable works and manuals were written to help piano teachers. In a word, the qualitative level of mass musical and instrumental teaching has significantly increased.

One of the tasks of children's music schools and art schools at the present stage is the development of a harmonious, creative, comprehensively developed personality, a bright individuality. The general piano course, as one of the components of the complex of musical lessons, contributes to the expansion of musical horizons, musical impressions, repertoire, greater realization of creative abilities and the possibility of self-expression, and therefore contributes to the overall musical development of students and the personality of the child as a whole.

Little musicians of various specialties: violinists and cellists, harpists and flutists, clarinetists and oboists, trumpeters and saxophonists, as well as domrists, balalaika players, accordion players, percussionists, and later choreographers discovered the magical world of the king of instruments - the piano. The opportunity to learn how to play music on it is fraught with many artistic discoveries. Rich palette of repertoire different eras, different styles and genres, colors of musical images and their interpretation develop the musical soul of the child and expand his horizons. For many children, this instrument helps to form polyphonic and harmonic thinking. Classes in the general piano class help in the education of those students who later enter the music colleges, and manuals to help piano teachers. In a word, the quality level of mass musical and instrumental teaching has significantly increased for those who, after leaving school, enjoy playing music with their friends.

The main tasks in the learning process in the general piano classin children's music schools are:

Learn to play the piano.

To instill in students a set of important practical skills for playinghearing, sight reading, playing in an ensemble, the ability to accompany.

To introduce both classical and popular piano repertoire.

Before proceeding to the consideration of methods and ways of working on cantilena and mobile works in the general piano class, let us dwell on the general principles of working on a piece of music.

GENERAL PRINCIPLES OF WORK ON A MUSICAL WORK

Working with students on musical works is extremelydiverse. Its content is determined not only by the studiedwork, but also the age, abilities and development of the student.Much also depends on the creative views and personal qualities of the teacher.However, differences in the course of work, albeit very significant in their dehoists, nevertheless allow us to identify provisions of a general order in it,characteristic of Russian piano pedagogy.

In practice, when teaching certain students, thesesummarized, as it were, typical moments of work in each caseacquire their individual features and characteristics.

Exceptional richness and variety of literature for pianoopens up a wide range of opportunities for piano teachers tofull education and upbringing of the student. Skillfully choosing the repertoire,the teacher directs the development of the student, achieves the required resultswork. But it would be wrong to see in the works under study only one's ownkind of "means" that help to achieve a certain level of musicalpreparation. The work on each work must be considered andas one of the next tasks in the entire learning process. The more significantwork in terms of its artistic value, the more difficult it is forstudent (with mandatory compliance with his capabilities), the greaterThis task also acquires significance for him.

Students should understand the studied works, perceive, feel their expressiveness, beauty. This is one of the most essential tasks of the teacher, without which the content of the performance cannot be achieved. ATrelevant formswork in this direction is always organically included in the process of training.

Finally, one more requirement for teachers should be emphasized - this is the accessibility for the student of the work being learned. It should not exceed the student’s capabilities in terms of actual pianistic difficulties, scale, etc. But it is no less important that the work, in terms of its content, in terms of images, is feasible forstudent understanding. After all, sometimes a student is assigned to work ona work so profound in concept that it can be accessedonly to an adult. Such work never brings benefits to the student, and oftenturns out to be harmful.

Only with proper selection of works and systematic careabout their understanding and active perception by students can be achievedtrue content of the performance. And without this, the student's work on any work loses all meaning.

Work on the work is a single holisticprocess, but in it it is possible to single out, as it were, a number of steps, to outline somecertain "milestones" that must be completed by the student.The generally accepted division of this work into three stages is quite acceptable, althoughIt should be borne in mind that this division is still very arbitrary. When studyingworks, certain sections of the work are not only inextricably linkedamong themselves, but often to a large extent coincide or, in any case,case, partially interpenetrate.

The initial stage of work on a piece of music. Work withstudents should begin by learning the registers on the instrument,setting hands, getting to know the fingering system, elementarysound extraction techniques.

At the first stage, the main task is to create a general representationabout the work, identifying the main difficulties and emotionalperception of it as a whole. The content of the work - acquaintance with materials aboutwork and with the work itself.

First of all, you should tell the student about the creator of the work(be it a composer or a people); about the era in which it arose; about himcontent, character, plot; basic pace; about the form, structure,compositions. This conversation must be built vividly, interestingly, bringingto illustrate the work as a whole and its fragments, better - inthe teacher's own performance.

Starting to learn a work, the student usually plays it,gets to know him as a whole, and this is the first acquaintance with the new compositionvery important, since the student here receives an idea of ​​​​music,which sometimes he does not yet know at all. He grasps in general termsthe content of the work, its mood, the most characteristicfeatures, its form. Forms of familiarization should be sufficientare flexible, are associated with the level of musical susceptibility of the student and the characterrum of the studied music. Starting with non-self-acquaintance (inthe first months of classes), going through the stage of gradual inclusion in this process, the student by the end of the second grade can almost independentlylearn new work.

In the lower grades of the school, while the student does not read well from the sheetin general, has still insufficient training, the teacher for the most partit is advisable to play this work yourself and stop attentionstudent on the main expressive points. More advanced students usually cope with a similar task themselves.

Having familiarized himself with the work, the student proceeds to a thorough reading of the text, to its analysis. Competent, musically meaningfulparsing creates the basis for the correct further work, therefore the valueit is difficult to overestimate it. The time occupied by the analysis, its musical - artistic level will be very different for students of differentdegree of musical development and talent, but in all cases at this initial stage of work there should be no carelessness, negligence.

As the repertoire becomes more complex, it becomes necessary to includethe process of parsing the student's special work to overcomeartistic-sound and technical difficulties. At the same time, a largeattention should be paid to questions of fingering. Neatthe student's performance of the fingering indicated in the text cansatisfy only at the first stages of training. Gradually he mustlearn to freely navigate in fingering, being aware of its role inrevealing the expressiveness of the work.

Second stage of work includes the formation of a clearerideas about the idea, listening to the fabric, differentiation of lines,analysis and synthesis, return to past stages, playback in slowtempo, work and sketch execution, the search for personal meaning.Work on sound should be closely linked with the development of auditorystudent's abilities. His performing intentions must obey his auditory ideas, auditory attention must be extremelyactive, auditory control extremely strict, and general attentionorganized.

A special place in the work on the essay should be given to strokes. They must fulfill both artistic and technical essence, where the firstis of prime importance.

At the third stage, everything that was done earlier is synthesized:the semantic relation of phrases, the main climax is revealed. Studentshould not only represent the performance plan of the work as a whole,his line of development, but also to know what expressive details in this or thatsection are the main ones that should be focused on. In thatperiod, all preliminary work must be completed in the finalwhole.At the same stage, preparation for the performance takes place: the organization of the form as a whole, the atmosphere of public speaking, rehearsals.

All the work of the musician on the work is aimed at ensuring that itsounded in concert. Successful, bright, emotionalfilled and at the same time deeply thought-out performance,completing work on a work will always have an importantvalue for the student, and sometimes it can turn out to be a major achievement, a kind of creative milestone at a certain stage of his education.

WORK ON CANTILENA

Cantilena (lat.cantilena- chanting) - wide melodiousmelody.

During the performance of cantilena music of various genres and styles,students noticeably improve melodic hearing; work onlyrical miniatures has a beneficial effect on the developmentmusicality, artistic and performing initiative of the student.

Most often, for each of the pieces of the cantilena character, it is typicalunity of musical means throughout the whole work orlarge parts of it. Such stability of the emotional structure is usuallycombined with the corresponding uniformity of pianistic texture. The organic relationship of artistic and technical means intensivelyaffects the mastery of diverse sound colors and the developmentcantilena playing skills in general.

The pianist teacher has a number of practical techniques at his disposal.and methods to help strengthen the melodic ear of students:

1. Playing the melodic pattern of the piece on the instrumentseparately from the accompaniment party. This is on the one handeffective method of pianistic work, on the other hand, an excellentmethod of developing melodic ear

2. Playing back a melody with accompaniment (oversimple or for the teacher to play this accompaniment, and the studentplayed the melody). The child immediately imagines how it should soundmelody.

3. Playing a Single Accompaniment Part on the Piano(sound background) while singing the melody with the voicealoud, then the same, but with singing the melody “to oneself” - an active internal auditory experience - understanding it.

4. The most detailed work on phrasinga piece of music, a careful sonic honing of a melodic phrase. It strengthens melodic ear, rendersassistance in the education of the student.

The main task of working with a student at the initial stage of education isthe introduction of the student into the world of melodic images, the development ofelementary skills of expressive performance of the lightestmonophonic melodies, possession of the simplest playing techniquesalternation of hands in monophonic positional presentation. The first lessonswhich begins communication with the piano, introduce the child into the worldmelodic images. The performance of only monophonic melodies during two or three months of training can be explained not so muchthe technical accessibility of the gameplay, as much as the need for the student's auditory perception of the expressive essence of the melody.

The considered features of cantilena works in terms of their performance assimilation can be traced on concrete examples. A number of the first songs - "Cornflower", "Don't fly a nightingale", "A hare walks in the garden", etc. - are performed in a narrow range (do-fa) of the first octave by non-legato technique using only the third fingers of the right and left hands. At the same time, they are a useful initial exercise for developing independent free movements of each hand in its part and plastic rhythmic movements when transferring a melody to the other hand.

In playing a melody on the piano, it is important, having internally heard its expressive features, to choose the corresponding tactilethe feeling of touching the keyboard. The student listens to differentthe nature of second and third intonations, the greater fullness of the sounds of half notes, shading them, especially at the beginning of phrases and on strong beats,deep immersion of the finger into the keyboard.

When studying the first pieces of a homophonic-harmonic warehouse, according toaccording to B.E. Milic, the main attention should be directed toexpressive intonation of melodies. An example of a play with whichbegin the study of two-plane texture, is"Lullaby" I. Philip.

In working on this piece, the student must reveal the nature of the melody and the structure of the phrases of this work. The execution of each push-pull orthe four-bar phrase is preceded by deep "vocal" breathing and"breathing spring "immersion of the hand into the keyboard at the beginning of the phrase, turning into a solid smooth movement until its end" 15, p. 71 .

If the student does not expressively enough intonation of the melody"Lullaby", you can refer to the reception of verbal subtext. The wordscan be created together with the student. For example, these could bewords: “Bai, bai, I shake the chrysalis. Bye, bye, close your eyes, etc.”

AT
in order to activate the student's auditory perception of harmony in"Lullaby" (and in pieces similar in texture) is useful to enliven the sound“empty” fifths of the background with the characteristic genre rhythm of “swinging”. The teacher can play in this case such a background option:

In a play"Winter" by M. Krutitsky specific and accessible to childrenauditory perception is the connection of melody with harmony. In the partyof the right hand, evenly over two measures, calm tonic sounds alternate with sharper sounds of seconds, resolving into a tertiantonic triad.

Nearly constant one-quarter lagmelodies relative to the sounding background facilitates their simultaneouslistening to phrase endings.

In solving sound problems, various techniques and methods of sound extraction play an important role. So, one of the conditions for achieving cantilena is the coordinated work of “expressive” fingers, which, “playing a melody, seem to step over, gently plunging “to the bottom” of the key (as if into a deep soft carpet)” 3. The finger that has played should also be raised gently, slowly, and not before the next one is completely immersed in the next key (this achieves the "pouring" of one sound into another - legato). Crossing fingers lead the hand, which, moving the support, reinforces each of them and at the same time maintains a smooth movement, as if outlining the contours of the melody. The interaction of fingers and hand gives depth to sounds, and melody - coherence.

Reflecting on the general attitudes and habits necessary for the independent work of students, A.P. Shchapov writes: “The student must be accustomed to the fact that one must always play with a “beautiful sound”. The desire to play with a beautiful sound includes precise planning of gradations of sound intensity, and "listening" to the sounds, and coordination of playing movements, and a certain elation of emotional tuning. In addition to this is the requirement to always play "meaningfully" - so that the sounds always express something, and not just follow one another. Both of these skills are brought up by the fact that the teacher generally does not allow rough or pale sounding in his presence, also does not allow either senseless, sluggish crawling from sound to sound, or senseless, rude knocking out. 4 .

Work on sound extraction techniques, to one degree or another, shouldcarried out from the very beginning of training. Tasks of interaction between fingers andhands to achieve the depth of sound and connectedness of the melody should be setwhen passing through such pieces as, for example, D. Steibelt's Adagio."Adagio" by D. Steibelt is a bright, melodious play accessible to children. Twothe first two-bar phrases are permeated with intonations of sadness.

Should be paidthe child's attention to the fact that bars 5-8, despite the articulatory dissection, are a summing, more voluminous construction, inin which new shades of mood are heard.

Middle major episodeintroduces the child to the world of peace, affection, confidence. Returns in repriseemotional state of the first part.

Particular attention should be paid to the harmonies in the part of the left hand. The upper sounds of the intervals (mi - in the 1st and 3rd measures; la - in the 5th measure) should be well heard by the student until the end of their sound.

At the next stages of learning to play the piano, there is a gradual complication of performing means as the student's repertoire expands, the study of works that are deeper in content and more complex in form and texture.

In cantilena pieces, musical means become much more voluminous in terms of melodic-intonational, harmonic and polyphonic relations. This is the reason for the specificity of their creativeauditory perception and assimilation. In the melody of these worksreveals a greater variety of genre shades, richerintonation-shaped sphere, brighter expressiveness of climactic"knots", a more voluminous line of melodic development. When playing melodiestheir rhythmic flexibility, softness, and lyricism should be more fully revealed.Their interpretation requires a feeling of wide breathing, absorbing the lines of small constructions.

Harmonic "environment", shading intonation saliencemelody, in itself carries a variety of expressive functions,often being one of the main means of revealing the musical image. Polyphonic elements are often woven into cantilena fabric in the formimitations, or in a contrasting combination of bass and melodic voices,sometimes in the form of latent voice leading within harmonic complexes. In the works studied at this stage (grades 5-7), more developed lines of melodic movement correspond to a significantthe extension of its register framework, as, for example, in the "Fairy Tale" by S.Prokofiev, "In the Fields" by R. Gliere, "Militant Dance" by D. Kabalevsky and others.

Very special tasks are faced by the student in the study"Tales" by S. Prokofiev. Unlike cantilena workshomophonic warehouse, where the harmonic background causesthe use of elementary pedaling techniques, when performingthis play should be almost entirely based on the texture of the weaveflowing melodic lines.

In fact, we have before us a polyphonic fabric in whichtwo contrasting melodic images. Brightly intoned lyricepic melody of the upper voice from the very first sound taken at"inhale" on the pauses preceding it, is performed in a singlecontinuous four-stroke movement. She is accompanied by an ostinato backgroundshort "plaintive" rhythmic intonations of the lower voice. Attransferring the melody to the lower voice, it is set off even moreprominent soundinglegato.

In the middle part, to replace the smoothly narrative three-partcomes a more discreet two-quarter size (sostenuto). The alternation of ups and downs of the movement by chordal links is associated with the image of a chime. Compared to episodicpedaling in a two-voice presentation, used only for brightintoned sounds of the melody, the middle of the piece is characterized by a fuller pedal, uniting overlying sounds on a common bass.

New and more complex artistic and sound challenges are facingstudent in the work on "Romance" by D. Shostakovich.

The texture of the play is exceptionally simple. sustainable anchoringmelodies behind the right hand part, the prevailing two-tone harmonicaccompaniments - behind the left part, they allow the student to quickly read the text, focusing emotional and auditory perception on the line of the palmharmonic development of musical thought. The right hand should leadits melodic line with bright sound expressiveness. Runthis task will be helped by a sense of the horizontal development of music, as well aslarge, unifying hand movements. Accompaniment followsplay quietly and easily, stringing basses and chords on a common core of smooth, continuous movement.

When working on the sonority ratio, it can be useful to divide the partsright and left hands between student and teacher 13  . This will help the studenthear the proper level of sound, then to achieve it by playing twohands together.

More complex sound tasks are found in multifaceted music, which is, as it were, a homophonic-polyphonic structure in whichconstituent elements (voices) play a sufficient independentrole. In such works, as a rule, two elements of textureperformed with one hand. For example, in a play"The organ grinder sings" P. Tchaikovsky. The solution of sound problems in such plays depends onlevel of musical development, attention switching skills andcoordination, as well as a sense of horizontal directionconstituent votes. At the same time, according to E.M. Timakina, "bigthe harmonious coherence of all links will also be importantpianistic apparatus, which will practically help to realizemovement, sound level and corresponding expressivenesseach voice, while uniting them under the "common roof" of the leading line" 13, p.65  .

We have considered the work on pieces of cantilena character, as inin general as well as specific examples. Already this small analysiscantilena works testifies to their activeimpact on development different sides musical thinking child, skills of expressive melodious game.

However, it is certain thatwork on sound and musical phrasing should not be limited toonly slow cantilena pieces.

PIECES OF MOVING CHARACTER

The world of images of program miniatures of a movable characterclose to nature artistic perception younger students.The reaction of children to the rhythmic-motor sphere is especially pronounced.this music. Unlike cantilena pieces, which are characterized bysmoothness, plasticity, there are clear syntacticdismemberment of presentation, sharpness of rhythmic pulsation, frequentchanges in articulation strokes, bright dynamic juxtapositions.Of particular note is the artistic and pedagogical significancesuch motor plays; like dances, marches, toccata and soundfigurative miniatures.

As you know, children's plays, especially mobile ones, have their ownspecific patterns of texture. Most often, each elementtissue or party of a separate hand corresponds to its playing technique.The main task in the performance of both parties is to harmonize motor-sound techniques with rhythm and syntactic articulation,contributing to the rapid automation of gaming skills. So, for example, insong"Oh bursting hoop" rhythmic and articulatory clarityperformance of the melody is achieved thanks to the "conductor's" precisecontrolling the rhythm of the movement of the left hand - its fall in the first quarters and removal simultaneously with a pause in the second quarters of measures:

I. Berkovt. "Oh, bursting the hoop"

When working on works of a mobile nature, together withthe development of the auditory and rhythmic spheres begin to formnecessary technical skills, the timely mastery of whichnecessarily. This is facilitated by the very texture of the works, inwhich is dominated by positionality, long-term use of onemotor reception, uniform alternation of mobile and spocool game.

The very concept of "piano technique" is now interpreted verywidely, including not only motor qualities, but also the ability toplay the instrument freely and naturally. Already from the first stepsthe student must be aware of the dependence of movement on charactersound. In music, any combination of sounds is united by semanticline; and even with a continuous sequence of soundsthe musical fabric is easily divided into separate motives and tunes.The success of the technical work at an early stage, mainly anddepends on mastering these simple elements of musical speech

When studying plays of a mobile character, considerable attentionalso given to tempo stability, rhythmic and dynamicclarity and evenness, articulatory clarity of performance. One ofimportant conditions for overcoming technical difficulties, especially intexture of moving figures with sixteenth notes, is the coordination of pianistic techniques with the pulsation of rhythm,melodic breath, articulatory strokes. It's possibletrace on such plays as "Humoresque" by L. Mozart, "Latvianfolk dance" in the processing of A. Zhilinsky, "Rain" by I.Korenevskaya, A Gedike “dance”, etc. So, for example, “March” by R.Schumann should be played rhythmically clearly, accurately maintainingduration of eighth notes and rests. Of great importance for phrasing are the accents set by Schumann at the beginning of each phrase.

Great artistic and pianistic interestrepresent plays of an onomatopoeic, sound-pictorial character. Rhythmic andline coloring of these cheerful and entertaining works.A light staccato game depicting a fluttering sparrow,prickly hedgehog, raindrops, quickly absorbed by children thanks tomerging of the same type of rhythmic pattern with the same typepianistic movement. Reception of alternation of a mobile staccatoplaying eighth notes with "rest" of the hand on quarter notes orpauses prevents the appearance of muscle tension: A. Rubach"Sparrow", "Toy-Parsley"; D. Kabalevsky "Hedgehog", A.Alexandrov "The rain is dripping", etc.

With its brightness, colorfulness, humor captivates the imaginationchildrenBarrel organ by D. Shostakovich. The entire piece (after the two-barintroduction to the very conclusion) consists of four largeeight-stroke constructions. Each of them has its own rhythmic,intonation, register, articulatory figurative-genre features.Already the first touch to the "hurdy-gurdy" accompaniment causespleasure. Continuous pulsation of the eighth note rhythmaccompaniment favorably affects the development of rhythmic,dynamic and articulatory evenness and sound accuracy inmoving figures as sixteenth and eighth notes in a melody. The author's dynamics vividly reflects the change of ongoing "events", especially whentransition from the third to the fourth construction. Dreamy rhythmsintonations in a high register abruptly pass to the rapid ending of the dance. And suddenly...Meno mosso : through the minor subdominant everything goes tosoftbefore major with suddenly appearing on the fort tonicfinal chord.

"My horse" A. Grechaninov - a bright, figurative play isat the same time an excellent exercise for the development of chord technique.

You should carefully consider the nature of the extraction of sound: the partright hand performedportamento , in the left hand unequal strokes - shortstaccato, legatoandnonlegato.

In the process of learning to play the piano, students are confronted with more and more complex musical and technicaltasks; works of various genres, styles andcharacter, requiring a clear rhythm, ease and grace in the game,tempo stability, articulatory clarity: D. Kabalevsky“Militant Dance”, S. Prokofiev “Walk”, F. Schubert. "Threeecossaise, etc.

Of the three "ballroom" dances " children's album» P. I. Tchaikovsky "Polka", perhaps the most "childish". In this piece, the feeling is especially vividthere is an atmosphere of noisy children's fun, a festive “ball forlittle ones." Polka is a pair dance, couples move in a circle. Beforethe spectator passes pairs of girls and boys dancing gracefully andgracefully, then (in the middle section of the piece, dewpiu forte) - a little awkward, comically awkward. Polka is a dance with small jumps and stomps. This is heard in the fervent grace notes that emphasize the secondmeasure beat. In the climactic section, the jumps seem to become more and morehigher, more fun 1, p.59 .

There are frequent dynamic "forks" in the play. Should not be smootheddynamic rises and falls: polka should sound lively, fun. Howand in all dance pieces, the correct feel of the metric beats is important. The first beat should be clearly felt as a reference.

Working with the student on the repertoire, the teacher must introduceit with foreign musical terms found inworks, require a thoughtful attitude to all textualnotation, accurate fingering, dynamicshades, strokes and other indications. great attention shouldpay attention to the development of reading skills. material for thissome ensemble pieces can serve as well as the leastdifficult repertoire.

CONCLUSION

Subjectgeneral piano is an important componentmusical education in children's music school. branches orgeneral piano classes in children's musical schools and children's art schools unite students whoplaying various musical instruments. It's obvious thatthe position of students of the piano and non-piano departments of the children's music school is fundamentally different: having a rich palettesonic expressive possibilities, wind or string instrumentslimited in the reproduction of polyphony. In this sense, the developing possibilities of piano performance are undeniable.

General piano lessons help students of othersspecialties significantly expand the musical horizons, developmusic skills. In relation to the subject, general piano ismeans, first of all, the opportunity for the student personally, inown performing practice to get acquainted with hugetextural possibilities of the piano. It also cannot be deniedthe exceptional role of the piano in the development of harmonic andpolyphonic hearing from the first steps of learning. Familiarization with a widerange of musical works of domestic and foreigncomposers contributes to the expansion of the horizons of students and allows you to significantly deepen the general theoretical and cultural aspectseducation.

LITERATURE:

Aizenshtadt S.A. "Children's Album" P.I. Tchaikovsky. M.: 2006.

Questions of piano performance. Comp. and ed. M. Sokolov.

Ginzburg L. "On the work on a piece of music." - M., 1968.

Hoffman I. Piano game. M.: 1998.

Kogan G. The work of a pianist. M.: 1979.

Lyubomudrova N. Methods of teaching piano playing. - M., 1982.

Milich B.E. Education of a pianist student in grades 1-2 of the music school. Kyiv:
1977.

Milich B.E. Education of a pianist student in grades 3-4 of the music school. Kyiv:
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10.Milich B.E. Education of a pianist student in grades 5-7 of the music school. Kyiv.: 1977.

11. Essays on the methodology of teaching to play the piano. Ed. Nikolaeva A.A. M.: 1965.

12. Savshinsky SI. Work on a piece of music. L.: 1961.

13. Timakin E.M. The education of a pianist. M.: 1989.

14. Feigin M. Individuality of the student and the art of the teacher. M., 1968.

15. Shchapov. A.P. Piano lesson at a music school and college. M.: 2001

Tatyana Nikolaevna Kruglova

MBOU DOD "Children's Art School No. 3", Angarsk

methodicalmessage

“Working on a piece of music in the piano class.

The main tasks of the performer»

In the creative community of teacher and student, in their common work The work raises many questions. In what sequence is the piece worked out, starting from the first touch to it and up to being put on the stage? In the practice of teaching at a music school, the most acceptable process is when learning a piece is divided into 3 stages:

1. Acquaintance with the work and its analysis;

2. Overcoming both more general difficulties and private ones related to the execution of details;

3. "Collection" of all sections of the work into a single whole, work on it.

At the same time, it should be borne in mind that such a division is still very conditional, since in practice these stages of work are not “only inextricably linked and cannot be accurately distinguished, but often coincide or interpenetrate.

Consider the entire course of work on the work.

Acquaintance with the work very important point for the student. Sometimes it is known to him from the play of his comrades, recordings, concerts, or maybe this is new music for him. Playing it with the accuracy available to him, the student perceives it in general terms. While the student does not read well from a sheet in the lower and middle grades, it is useful for the teacher to play the work himself, to focus on the main expressive features. It is also useful for more prepared students to say a few words about the nature of the work, to point out typical difficulties.

Having familiarized with the work, the student proceeds to a thorough reading of the text. A competent, musically meaningful analysis is the basis for further correct work. No need to spare time for analysis, while strictly following all the author's notes and instructions. It is necessary to analyze the work first with small, relatively complete constructions. Parsing with each hand is separately needed for elementary school students, but in complex constructions should apply and more prepared. But at the same time, for a second grader, you can find easy pieces that he can take apart with both hands at once.

sound when parsing, of course, it depends on the nature of the work and its main expressive features. However, as general position one can point to a relatively greater fullness of sound than will be needed later and a controlled stability of sound extraction.

It is necessary to pay attention to phrasing from the very beginning, otherwise the game will be meaningless. Of course, lengthy work on phrasing will be carried out later, but it should be started during parsing.

A common drawback when parsing - careless attitude to fingering. Of course, later the fingering may partially change, somewhere its best version will be needed, but this does not change the essence of the issue. Students themselves should also be involved in solving fingering issues.

Pedal question when parsing the text, students who are not sufficiently familiar with pedalization should introduce it later, when knowledge of the text and the proper quality of pedalless sound are ensured.

An important issue is the memory game. Those who believe that it is useful to know a significant part of the works by heart even at the beginning of the study are right. This facilitates and speeds up the course of work, the student acquires a feeling of emotional and physical comfort in performance earlier.

But special care should be taken when parsing and learning by heart music that is complex in text, especially polyphonic music.

Pace. Attempts to prematurely transition to fluid tempos have a bad effect on the quality of the game. Therefore, memorization should be carried out according to individual constructions at a slow pace; then move on to connecting them into larger parts and then to slowly playing the whole piece. “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 the music that he plays, but simply babbled it with his hands. This chattering is the greatest danger that must be constantly and stubbornly fought. One cannot but agree with these words.

The main content of the II, stage of work on the work consists in the following problems: the sound of the instrument; phrasing; dynamics and agogics; fingering; pedaling.

For a student (especially not very prepared) the question of consistency in work is also important. In the practice of some teachers, there is such a moment: after listening to an essay prepared for a lesson by a student, he is not satisfied with many things. He talks a lot about the shortcomings he noticed, sometimes reinforcing the words with a demonstration on the piano, but, as can be seen from subsequent homework, all this does not bring the proper results. The reason is that the student, having received many comments at once, "got confused" in them. It is more expedient for the teacher to dwell on the most essential, to eliminate the main omissions at this stage. So, the first problem is the sound of the instrument. There are almost no cases when a student does not need to learn pieces slowly, achieving deep sounding, good finger support. The skills of such work must be brought up from the first lessons. It is important to teach to love the most ordinary piano sound - full, soft, juicy, and to instill the need for such a sound. To teach the student to lower his fingers and hands “into the keys”, into the piano, “to feel the keyboard well”, as if overcoming its resistance. As long as the student does not control his own hands, it is easier to acquire a sense of support when working on works (or fragments) of chord presentation that require fullness of sound. In parallel with the work on the chord texture, you need to look for the sound, and the feeling associated with it when playing the melodic line. You can not "press" on the keys - this creates the viscosity of the sound and the discontinuity of the melodic line. The degree of saturation and the nature of the sound depend on the content of the music, texture, register. But even fast, transparent episodes that do not require a thick sound, you need to teach at a slow pace, with a sound that is denser than you need later.

Phrasing. Only a thoughtful attitude to the phrase will allow you to delve into the musical content of the performed. “In every phrase there is a well-known point, which is the logical center of the phrase. Intonation points are, as it were, special points of gravity, attracting to themselves the central nodes on which everything is built. They are very related to the harmonic basis. Now for me in a sentence, in a period, there is always a center, a point towards which everything gravitates, towards which everything, as it were, strives. This makes the music more clear, coherent, connects one with the other,” he considered.

It is necessary to constantly remind students that it is necessary to lead the line of a musical phrase and, when performed with a non-legato stroke, to feel the phrase during pauses that should not interrupt the development of the work. An important point is the feeling of breath in the music. Without this feeling, the beginning is leveled and the expressiveness of the next construction is lost.

Let's talk about dynamic means of expression.

The scale of dynamic gradations is essentially infinite. Its richness depends on the subtlety of the perception of figurative content and the skill of the performer. The timbre side of the sound is connected with the dynamics. The student needs to master a variety of forte, a variety of piano. When playing forte, it is important to warn the student against the danger of exaggeration and excess. The teacher must help the student to imagine the unlimited sound possibilities of the piano and its inherent sound nobility.

Sometimes students in elementary and middle grades misunderstand the nature of the sound of the piano. They begin to be afraid of the very sound of the instrument, they lose the feeling of relying on the keys and the piano “does not sound”. The teacher has to explain that the nature of the sound in the piano is always determined by the meaning of the music, and requires special precision in touching the keys with fingers.

Sforzando is not a harsh or strong accent. It is necessary to draw the student's attention to the semantic meaning of sf in the environment of piano, then forte.

Fingering. What should become decisive for the student when choosing a fingering? The first thought will be - to play the way it is more convenient. It would seem right. However, it is necessary to instill in the student a correct understanding of the term "convenience": it should be determined by the meaning of music. The fingering is considered convenient, with the help of which the author's idea can best be expressed. It is necessary to encourage listening to the different sounds achieved when performing with different fingerings, to teach to be aware of this difference. Of course, the student is obliged to learn the fingering of the basic technical formulas - scales, arpeggios, etc., and use it. But this is only part of the question, because even in Czerny's classical sonatinas and etudes there are moments when the melodic pattern of a passage or the expressiveness of the sound make one deviate from these canons.

The art of pedaling .

Anton Rubinshtein characterizes the role of the pedal in piano playing as follows: “The pedal is the soul of the piano. Good pedaling is three-quarters of good piano playing."

That is, according to Rubinstein, only one quarter belongs to articulation, intonation, agogics, dynamics, tempo, etc.

Some methodological considerations about the pedalization of the professor of the Leningrad Conservatory Nadezhda Iosifovna Golubovskaya () deserve attention, combining musical and performing talent, musical and pedagogical talent and in-depth research and methodological work.

Pedaling cannot be taught. You can cultivate an understanding of music and pedal flair.

The delayed pedal is easy for children to learn. Learn to play the pop legato scale with one finger and achieve its coherence and purity.

First, of course, the student needs to be told where to get the pedal, but it is imperative that the child myself checked by ear, whether it turns out that it is planned.

It is undesirable at first to enter pedalization into notes, and in further training it is very harmful. One should not deprive the student of initiative in a very important and subtle area. It is harmful for the student to visually assimilate pedalization, so that the impulse of the foot is subordinated to the visual command separately from the music as a whole. The pedal is controlled by ear. This is the main rule.

The student must know why he is pedaling, to control the “rudder of sound” with his hearing and consciousness, then gradually the control of the pedal becomes unconscious. Of course, there are inattentive students, for them it is possible to inscribe a pedal idea into the notes. As Golubovskaya figuratively says: give a lesson at home, as they give a drink “to take away” along with a bottle, but we must remember that the teacher’s record is only a bottle, and you need to learn the contents so that the bottle can be thrown away later.

Ideally, you can neither memorize nor relearn pedaling. The basis of pedal possession is the skill of adaptation.

The pedal should not replace legato playing with the fingers. It is especially important in polyphonic music to cultivate the muscular sensation of long notes, which replaces sustained breathing for the pianist. Muscular legato, the feeling of connection in the hand - the pianist's bow.

Technical work also cannot be done on the pedals, because this will interfere with hearing dynamic and rhythmic relationships. But learning a piece without a pedal and then adding it is inappropriate and wrong. Already when parsing a piece, you need to include the pedal in the overall sound complex. Then, in the working order, it can and should be abandoned. The leg, like the hands, should help to hear the right music. This is possible in the early stages of learning. Tchaikovsky's "Doll's Funeral" or Schumann's "Little Romance" require a fusion that is inaccessible to the fingers. If the child has not mastered the delayed pedal, these things cannot be played. And if he is familiar with a retarded pedal, let him immediately adapt to the right sound.

A straight pedal is needed in "Waltz" from Tchaikovsky's "Children's Album" to emphasize the danceability and rhythm of the piece. These two primary types are quite accessible to children's understanding and assimilation. Bach is best played without a pedal until the child has a need for it. Then it can be directed, corrected, but pedaling cannot be fixed in any way. It is possible to accustom to the possession of incomplete pressing of the pedal at the early stages of training - the sooner the better.

"Play with the pedal" - so you can say to a child who has learned to take a retarded and direct pedal. "But as"? a student may ask. Answer: play as you like, play as you like. And then explain what his mistakes are. It is necessary to develop in students the habit of pedal initiative. In more subtle and complex cases, you need to work with the student on pedaling, be his extra ears, push his imagination. "School aerobatics” in pedaling is when the pedal goes “toe in hand” with all performing intentions.

Outstanding teacher, professor, head. Department of Piano GMPI them. Gnesinykh, Elena Fabianovna Gnesina perfectly mastered the methods of musical education from beginners to graduate students. In matters of pedalization for Gnesina, two factors were inseparable: the so-called "pedal intuition" and the coordination skill of movement. “All children who freely reach the pedal with their feet and who can listen to the sound of the piano can learn to pedal well,” writes in Preparatory Exercises. Stages of work on the pedal: 1 - the correct position of the feet on the pedal; 2 - without parting with the pedal foot, silently press and release the pedal, making both movements evenly; Stage 3 - exercises with sound.

“First you need to work (with each hand separately) on sounds of the same duration, pressing the pedal at half the duration.” In the next exercise, E.F. advises to take your hand off during a pause and listen to the remaining sound on the pedal.

Advice on pedal gradation: "In piano you need to press the pedal lightly, in forte more deeply."

A separate delayed pedal should create transparency in the sound, as if "discharged". Sometimes it is "dirty" due to the fact that it is taken early.

The third stage of work on the work.

Educating the student's ability to hear, embrace and fully perform the work is an important part of learning. Already in the middle classes of the music school, the student encounters plays written in a simple three-part form. In this regard, we have to talk about the character and mood of the first part, point to a different content of the middle (most often contrasting) and, further, to a return to the music of the beginning. Here it is necessary to direct the student's attention to the fact that the reprise is not for him only a repetition of the first part of the play. Even with the exact repetition of the text of the parts, it is necessary to offer an interpretation in which the development of musical thought would be felt. If the work contains a number of climaxes, it is necessary to pay attention to their correlation in importance. The culmination is only good when it is in its place, when it is the last wave, the ninth wave, prepared by all previous development.

Proper performance of a work cannot be achieved without understanding the expressive meaning of its form. The student should be aware that the form is inseparable from the content, from the author's intention.

Significantly more serious tasks of interpretation are set before the performer of the composition large form(sonata cycles, sonata allegro, rondo, variations) - often complex in structure, replete with numerous mood swings, diverse themes and episodes. A student who, while still at school, begins to get acquainted with large-form works and continues to work on them throughout his education, gradually acquires the necessary skills in this area, learns the principles of approach to their study, and the features of work.

Any sonata allegro requires a clear understanding of its structure and its unity with a specific content. Already when working on the exposition, the student should see one of the main tasks in combining the relative completeness of this section with diversity in performance. It is necessary to emphasize the individual features of each theme, while at the same time subordinating the performance to the general musical concept. The student needs to know (making sure of this on the works being studied) that in development with its oppositions and modifications various images, with the isolation and development of elements of the musical fabric, the dynamic beginning of the work is often most clearly revealed. It is extremely important to identify the expressive role for the reprise, which usually has a great semantic meaning. In the reprise, it is imperative to hear the new features that have appeared in it, to feel, in particular, a different tonal coloring of the themes of the side and final parts and, in connection with this, their different expressive shade. This will help to feel the reprise as a result of previous development, will contribute to the integrity of the perception and performance of the entire allegro.

The study of works written in any other form requires attention to the expressive features of these structures as well. Perhaps the most difficult thing is to maintain a general line of development and achieve integrity in the form of a rondo: the frequency of repetition of the main theme (refrain) can make the performance monotonous and static. Therefore, it is necessary to help the student find a special charm and novelty in each presentation of the topic. At the same time, it should be explained that refrains - with the same text - are perceived and sound differently depending on the previous episode and their place in the work; you just need to feel a new shade in the conduct of each refrain. It is important to find a common climax in the rondo, to lead the development of musical thought to it.

In the final period, all preliminary work must be formalized into a complete whole. Acquaintance with the recordings of this work can help to understand the performing intentions; with the prevailing own idea, such listening often turns out to be very useful, contributing to the clarification of one's intentions.

The pace of execution is very important. The definition of the pace is facilitated by the author's instructions, understanding the nature of the work, its style. In each individual case, you should, together with the student, find a tempo that allows him to feel comfortable when performing the piece.

It is also necessary that the student correctly perceives the basic unit of duration, which determines the temporal pulse of the work. Achieving metro-rhythmic accuracy in the performance of any section, it is often necessary to temporarily take a shorter duration as a unit of pulsation than that which corresponds to the meaning of the music and is indicated by the author. Meanwhile, with proper performance, the unit of temporal pulsation should coincide with the size marked in the notes, and sometimes even combine several metric parts into one larger one.

Having learned to perform a mobile composition at the required pace, the student, as you know, must continue to work in a slower movement; this will protect the work from "chattering", and, in addition, will help to fix the performing plan in the mind of the playing performing plan in all its details. We have to remind the student more than once that slow playback in compliance with all particulars performance intention allows him to carry out his intentions with the utmost clarity and makes them especially clear to himself; then the student himself is convinced of this. It should be emphasized that such playback requires maximum attention.

However, such work in slow motion should not lead to a loss of understanding of the desired pace. Having found it, having felt it, the student must fix it in order to always be able to return to it again. When studying with students in the primary and secondary grades of a music school, one often has to work on this specifically; the element of "losing" one's movement is not excluded among high school students, as well as in music schools.

Sometimes it is useful, having learned a piece (especially one that is difficult for a student), to temporarily put it aside, then after a while return to it again and then proceed to direct preparation and performance on the stage. This always introduces elements of the new into the performance and, most importantly, restores the freshness of its perception.

Concluding the review of the main sections of work on a piece of music, we can conclude that the thoroughness, detailing of requirements, the perseverance of the teacher and student in their implementation should be combined with the development of the performing principle, with training in performance, in which musical comprehension is combined with the emotionality of perception.

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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 creative method E. Grieg and the characteristic features of his style.

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

3. Conclusion.

The national and world significance of 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. On the weirdness of the climate: on a narrow spring blooms along the coastline, the 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 mature years and simplifying again into latest 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 a peculiar reflection in Grieg's piano music and largely determined the originality of its style. Grieg's interpretation of various folk dances. 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 distinctive features romantic art.

An heir to romantic traditions, Grieg adopted the general principles of Schumann's, poetic programming, which is most fully revealed in the collections of Lyric Pieces, to which the composer turned throughout almost his entire creative life. Grieg's piano miniatures have "descriptive titles": these 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". The artistic goal of the composer is not the embodiment of the plot, but, above all, the transmission of the elusive moods that are born in our minds by the 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 "light, natural form, transparency, clarity, euphony 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 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 the teacher to have wide erudition, the ability to compare and find analogies in various types art, to master the skills of a lecturer. 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 primary 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 comprehension of the work, its connections with the artistic life of the era in which the composer lived, that contributes to the development of the cognitive ability of a 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.

The most prominent representatives of the national revival in literature were G. Ibsen and B. Bjornson. Grieg's creative collaboration with these writers brought world fame Norwegian art. Both writers - each in their own way - had a noticeable influence on the formation of aesthetic views composer. 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 bright pictures modern life. He ridiculed philistinism, denounced the mores of contemporary society. In dramas written on the plots of the Old Icelandic 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 consonant with modern Norwegian fine arts. 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 performing demonstrations of studied works, visiting concerts of outstanding performers, important place in the development of professional thinking of young musicians is 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 performing musicians (M. Pletnev, E. Gilels, M. Argerich and others)

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 recent years one common sphere of lyrical moods and one The general trend poetic software. 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: “Lyric Pieces make up the bulk of 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 the general features of the form 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 it's a verse form, like in a song? After all, such a form is typical for folk music, and Grieg's connections with folk art 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 crescendo over eight measures will lead to enough 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 unexpected appearance h-moll brings with it a new image, another 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.

Pumping up the sound from pp to f over just 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. folk life, holiday 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. The fact that the coda is almost equal in volume to the main parts and, in addition, plays a very important dramatic role, being the culmination of the whole work, immediately attracts attention.

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 leaves 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 bar). 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 the 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). An important point in the development of the theme is 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 metrical 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 deepens, intensifies, is supplemented by various details and details that have a 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. Parallel to musical analysis there is an excursion into historical science, into 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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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.

Working on a piece of music is a thorny, difficult path where it is impossible to use clichés and clichés. 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 for 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 famous pianists various 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 varying degrees of 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.

O 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 this music and most accurately consistent with 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 strong beat 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 quality 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.

As an element of expressiveness and transmission emotional state there is a dynamic that helps to reveal 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 special meaning acquires 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 following tasks must be set before the student: the acquisition of the necessary dexterity, rapid motor reaction, 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 of the performance plan;

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. Of great importance, in our opinion, is the choice of the 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. musical material, interesting harmonic finds and new rhythmic formulas.

Performing freedom cannot be fully revealed if the student does not have sufficient experience in 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. Upbringing young pianist not subject to regulation educational process, it has no limit. 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.