Work on polyphonic works by J.S. Bach at the music school. Methodological development in music on the topic: work on works of large form (elementary classes for music school) scientific and methodological development

Introduction

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

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

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

The initial stage of work on the work.

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

First reception.

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

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

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

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

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

Second reception.

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

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

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

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

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

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

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

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

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

The middle stage of work on the work.

Third take.

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

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

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

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

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

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

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

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

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

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

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

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

Fourth take.

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

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

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

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

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

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

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

Fifth reception.

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

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

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

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

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

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

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

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

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

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

Sixth reception.

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

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

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

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

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

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

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

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

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

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

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

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

Seventh reception.

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

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

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

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

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

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

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

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

The final stage of work on the work.

The objectives of the final stage are to achieve:

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

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

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

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

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

Conclusion

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

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

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

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

Bibliography

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

Introduction

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

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

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

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

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

Initial period of study.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Notebook for Anna Magdalena Bach.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

in mismatch of strokes (legato and non legato);

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

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

Features of Bach's dynamics, rhythms, melismatics

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Little preludes and fugues.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Speaking of fugues and fughettas, which are also included in this collection, it should be noted that although these works are a preparatory stage for the CTC, unlike the Well-Tempered Clavier, fughettas and fugues are not as detailed in their internal content.

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

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

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

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

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

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

Inventions and symphonies.

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

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

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

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

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

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

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

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

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

___________________

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

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

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

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

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

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

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

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

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

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

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

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

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

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

_______________________

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

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

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

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

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

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

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

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

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

"Well-Tempered Clavier"

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

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

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

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

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

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

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

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

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

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

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

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

Conclusion

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

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

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

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

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

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

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

Among the great performers-interpreters of Bach's clavier works, the following names can be mentioned: S. Richter, G. Gould, S. Feinberg, J. Zak, M. Pletnev, T. Nikolaeva.

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

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

Bibliography

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

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

V. Galatskaya “I.S. Bach. M., 1966

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

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

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

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

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

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

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

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

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

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

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 by famous pianists of different eras. Usually we do this by following the musical text. After a preliminary acquaintance with the new work, we, together with the student, analyze:

We determine the nature and structure of the work;

We determine the tonal plan, tempo, rhythm features;

We discuss the dynamics and analyze the strokes;

We outline the climax points;

We decide what techniques we will use in the work;

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

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

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

Careful reading of the musical text at a slow pace;

Metro - rhythmic precision;

Selection and use of precise fingering;

Applying the right strokes;

Meaningful phrasing and dynamics;

Understanding harmonic texture;

Subtle and precise pedaling.

The time allotted for the analysis of the work will be very different for students of 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.

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

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 the strong beat with your foot, etc. It is useful to engage in rhythm, both at the initial stage of work, and when performing a finished, learned work. Practiced techniques in the lesson, we offer the student to fix on their own in homework.

Second stage of work:

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

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

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

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

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

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

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

For piano with notes;

Without piano with notes;

For a piano without notes;

Without piano and without notes.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

As regards work in final pace , then the 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 of musical material, interesting harmonic findings 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. The upbringing of a young pianist does not lend itself to the regulations of the educational process, it has no limits. Starting from the first lessons, we try to put a piece of our soul into each student, instill a love for the most beautiful of the arts, using all the teaching talent and great experience.

Bibliography:

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

Work on works of large form occupies a special place in the musical and performing development of students of the piano department.

Compositions of a large form are characterized by a greater variety of content, in comparison with other works, a large scale of development of musical material. In this regard, their execution requires the student to be able to mentally embrace significant constructions and, while maintaining the unity of the whole, to identify the characteristic features of individual images and themes. It also requires the ability to switch from one artistic task to another, endurance, a large amount of memory and attention.

Thus, the purpose of this work will be to consider and study the problems of working on a large form in the lower grades of the music school.

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MUNICIPAL BUDGET EDUCATIONAL INSTITUTION FOR ADDITIONAL EDUCATION OF CHILDREN

CHILDREN'S MUSIC SCHOOL № 4

OF THE CITY DISTRICT OF TOGLYATTI

WORK ON LARGE FORM WORKS

(elementary classes of music school)

Scientific and methodological development

Designed by:

Goncharova Lyubov Petrovna,

piano teacher

Togliatti, 2014

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

2. The main part. Work on large-scale works in the primary grades of the Music School………………………………………………………………………….. 5

2.1. Some aspects of the problems of working on large-form works……………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………

2.2. Methods and techniques of working on a large form in the lower grades of the Children's Music School………………………………………………………………………………..13

2.3. Problems when working on a large form in the lower grades of the Children's Music School………………………………………………………………………………..17

3. Conclusion……………………………………………………………………20

4. References………………………………………………………..21

1. Introduction

Music pedagogy is an art that requires from people who have dedicated themselves to this profession, great love and boundless interest in their work. The teacher must not only convey to the student the so-called "content" of the work, not only infect him with a poetic image, but also give him an analysis of form, harmony, melody, polyphony. One of the main tasks of the teacher is to do as soon as possible and more thoroughly so as to be unnecessary to the student, that is, to instill in him that independence of thinking and working methods, which are called maturity, after which mastery begins.

Work on works of large form occupies a special place in the musical and performing development of students of the piano department. The main place in the study of sonata form is given to work on the sonata allegro of Haydn, Mozart, Beethoven. The tasks facing the student when learning sonata allegro are aimed at studying the structure and dynamic development of the musical form. Very often, children, being carried away by the performance of certain parts and themes, often lose their sense of form, which leads to the appearance of rhythmic instability, technical errors, excessive dynamics and agogics.

During the initial acquaintance with the sonata allegro, its three-part structure (exposition, development, reprise) is musically comprehended, the figurative characteristics of the parts (main, secondary, final), their contrast, unity and intensity of development in the figurative structure of the entire work are analyzed. This applies to the genre, intonation, rhythm, harmony of the entire texture of the work.

The sonata allegro is based on the principle of contrast. The student's attention must be directed to understanding the figurative contrast of large episodes of the work, and not small ones, which is the greatest difficulty in performance. The student's ear should be directed towards frequent character changes, which entails the selection of appropriate sound solutions. The phenomenon of figurative contrast manifests itself when comparing the main and side parts, but at the same time they represent musical unity due to the expressive means of music.

Thus, the goal This work will consider and study the problems of working on a large form in the lower grades of the music school.

Within the framework of the goal of the work, it is necessary to solve the following tasks:‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬

one). Consider work on large-scale works in the lower grades of the Children's Music School.

2). To study the methods and techniques of working on a large form in the lower grades of the music school.

3). To reveal the problems when working on a large form in the lower grades of the music school.

1. Work on works of large form in the lower grades of the Children's Music School

1. Some aspects of the problems of working on large-scale works.

The goal of teaching children at the music school is to prepare, for the most part, amateur musicians who have the skills of musical creativity, can independently disassemble and learn a musical work of any genre, be fluent in an instrument, pick up any melody and accompaniment to it. You can teach music to any student who has even very average musical data. All this requires high professionalism from the teacher, a creative approach to teaching the child and great love and respect for him. All knowledge must be presented, if possible, in the form of an interesting game. It is important that the child, as it were, discover the beautiful language of music for himself, even if in a simple form. As soon as the child begins to get acquainted with the instrument, it is necessary to pay his auditory attention to the beauty and difference of sounds and harmonies, it is necessary to teach him to listen and hear the sounds that combine in the melody. To hear is simply to hear the surrounding sounds, to listen is to listen to the quality of the sound, to the beauty of the musical sound. Each sound must be performed as if it has an independent value. It is very useful to direct the child's attention to the sounds of nature surrounding us, because all music originates in them.

Almost every teacher of special disciplines in the music school understands that a rare student is able to disassemble a work on his own, without the help of a teacher. Moreover, without the active participation of the teacher, the process of analyzing the play is sometimes stretched for weeks. Therefore, there is no time left for music-making and creativity in the lesson. As a result, a graduate of an educational institution is often a child helpless in front of a musical text, who is unlikely to ever sit down at an instrument (largely because of the fear of notes). This is all the more annoying, since from year to year the music literature market is replenished with original editions - popular classics, modern domestic and foreign hits.

In the development of sonata allegro, the development of the thematic material of the exposition takes place in various forms of its renewal. The attention of students should be directed to what and how is developing and what is new in music. In some developments, the student may see similarities with the theme of the final or main part, and sometimes the development is based on new material, which leads to new modal-tonal and textural transformations.

The reprise part of the sonata allegro basically reproduces the material of the exposition with the tonal changes of the side and final parts. The presence of the main tonality in these parties fixes the integrity of the coverage of the form in the student's auditory sensation. But sometimes, in the performance of side parts of the reprise, the student comes into contact with new artistic tasks: changes in dynamics or the emergence of new dynamic contrasts compared to the same episode in the exposition.

In most allegro sonatas, the codas are often missing and replaced by a small addition.

All the considered phenomena of contrast and unity of the thematic material and their performance embodiment when learning the sonata form are inextricably linked with the development of a student's sense of integrity, a through line in the interpretation of the work. The feeling of a rhythmically pulsating unit is decisive here. In the Allegro sonatas of the Viennese classics, the main pulsation is often heard already at the very beginning of the work. One of the important aspects for achieving a holistic performance of a sonata allegro is the internal adjustment of the student to the tempo characteristic of this work. Very often, during a performance, an unstable sense of tempo violates the holistic performance of a sonata allegro. Especially often this happens when changing the texture, rhythmic pattern or a sharp comparison of the dynamics.

The study of cantilena parts of sonatas and sonatinas, where an expressive melody is combined with a relatively simple harmonic background, is associated with the ability to lead a melodic line in a single movement in long constructions. Possession of such a wide melodic breath allows the student during rhythmic stops or pauses, when dividing the melody with different strokes, when splitting it into short motive figures, to maintain an integral line of its intonation development. However, the expressive performance of the melody cannot be considered in isolation from its textured environment.

When studying the final parts of the cyclic sonata form, the methods of working out sonata allegro are used. Most often, the last parts of the sonatas of the Viennese classics are written in the form of a rondo, where the main theme (refrain) alternates with episodes of various nature. The thematic rondo of the Viennese classics is predominantly a lively song and dance character. The different genre coloring of the theme and episodes allows the student to directly perceive the form as a whole and individual elements.

Compositions of a large form are characterized by a greater variety of content, in comparison with other works, a large scale of development of musical material. In this regard, their execution requires the student to be able to mentally embrace significant constructions and, while maintaining the unity of the whole, to identify the characteristic features of individual images and themes. It also requires the ability to switch from one artistic task to another, endurance, a large amount of memory and attention.

Everyone who listens to or performs musical works knows that among them there are easier and more difficult to perceive and remember. Pieces are easier to perform and memorize than works with titles: rondos, variations, sonatinas, sonatas.

The point here is that these works are larger in volume and they are built according to more complex laws of musical form. The composer, when creating a rondo, a sonata, a variation, always adheres to stricter rules of construction. It is difficult to imagine a piece of music that would not be divided into parts. The simplest means of giving a certain form to the flow of musical sounds is repetition. For example, when listening to a song, without even distinguishing the words, we clearly hear the boundaries between verses precisely because the same melody is repeated in each verse. However, if the same theme is endlessly repeated in music, then such a work will quickly tire the listener. It is also very difficult to perceive music in which more and more melodies appear without any system. Therefore, in musical works, already familiar musical thoughts usually alternate with new ones. The construction of musical works of a large form is based on this principle: rondo, sonatas, variations.

VARIATIONS.

Variation cycles occupy a prominent place among large-scale works in the pedagogical repertoire. Their originality lies in the fact that they also contain the features of small-form plays. Therefore, the student, working on variations, acquires especially diverse performing skills. Like a miniature, each individual variation requires laconism of expression, the ability to say a lot in a little.

It has already been said that if music is repeated many times and does not change, then listening to it is not very interesting. Therefore, a modified or varied repetition is often used in a piece of music. There are variations on this principle.

The variation form was born in the 16th century. Variations originated from folk music. One can imagine how a folk craftsman-musician played the melody of some song on a horn, pipe or violin, and each time the motive of this song was repeated, but it sounded in a new way, enriched with new undertones, intonations: the rhythm, tempo, individual turns of the melody changed. So there were variations on song and dance themes.

The difficulty in working on variations lies in the combination of individual variations into a single whole. Wholeness is achieved by thematic unity. In some works the melody of the theme varies, in others it remains unchanged, and only harmony and texture change. Often both of these principles are combined in the same work. The student must know which of the two principles underlies the composition he is learning and be able to find a theme or its elements in each variation. This helps to consciously treat the analysis of the text and penetrate deeper into the content of the music. Caesuras between variations are also of great importance. Caesuras can separate variations or, conversely, combine them into a single whole. It is possible to emphasize the significance of individual variations with a caesura.

RONDO.

Now for the rondo. The word "rondo" is French. Translated into Russian, it means a circle, a round dance. The name of this form comes from medieval France. There "ronds" were called round dance songs. The song has a chant and a chorus. They were performed like this: one of the participants in the round dance sang the chant, and the chorus - all together. But unlike a simple song, the verses in these round dance songs were sung each time to a new motive, and the chorus remained unchanged. And the second difference from a simple song was that the rondo did not begin with a verse, but with a chorus. So, the rondo form can be perceived as a song that begins with a chorus. This chorus (refrain) is repeated invariably, and the verses (episodes) have different melodic content. The chorus (refrain) will unite the rondo into a single whole.

SONATA AND SONATINA.

Of great importance for the development of the student is the work on the sonata, as one of the most important forms of musical literature. Sonatas serve as a preparatory stage for sonatas.

The sonata is the most complex work in terms of form. A sonata can be compared to a literary novel or short story. Like a novel or short story, the sonata is "inhabited" by various "heroes" - musical themes. These topics do not just follow one after another, but interact, influence each other, and sometimes come into conflict. The parts of the sonata written in the form of a sonata allegro are distinguished by the greatest tension and sharpness. The development of music in these parts can be compared to a theatrical performance. At the beginning, the composer introduces us to the main characters - musical themes. For the most part, they are contrasting in nature. This is the beginning of the drama (exposition). After that, the action develops, sharpens, reaches the top. This is development, the most conflicting section. The themes of the characters are shown from unexpected angles. They can be divided into short motifs, collide, intertwine, change, fight one with another. The conflict culminates in development. Such a conflict requires détente, reconciliation. Reprise brings them. This is the result of all actions. The themes that we met in the exposition sound, but certain heroes came out victorious in this struggle and, perhaps, acquired greater significance, therefore the reprise contains a repetition of the music of the exposition, but not verbatim, but modified. It is very important to establish new features in the sound of the main and side parts, to decide which image has gained more importance, to analyze all the changes that have occurred in the reprise compared to the exposition. These changes primarily affect the area of ​​tonal relationships. If in the exposition the main and side parts are tonally opposed, that is, they sound in different keys, then in the reprise they usually sound in the same key (the main key of the work). The three main sections of the sonata allegro are often joined by the fourth, final section - the coda. It contains excerpts of the most important topics, the "winning" tonality is once again affirmed. The most important two musical themes are the main and side part. Between the main and the secondary there is a binder, its meaning is to make the transition from the main to the secondary. The exposition ends, as well as the reprise with the final installment. From the very name of this party follows its affirmative-generalizing character. The connecting and closing parts can have new themes of their own. But not infrequently they are built on the material of two most important themes - the main and side parties.

The classical sonata cycle took shape in the second half of the 18th century. Sonatas were written and are being written by many composers, starting from Corelli (XVII century) to the present day. Born in the work of I.S. Bach and his sons, D. Scarlatti, the sonata form finally crystallized in the works of J. Haydn, W. Mozart. The sonata form found its highest expression in the works of Beethoven.

Of course, not all sonatas and sonatas studied at the music school correspond to the classical form of the sonata allegro. They may not have enough developed development. When performing sonatas and sonatas, the main difficulty in translating the sonata form appears: the identification of contrasting images and, along with this, the observance of the unity of the whole.

Working in the class on a large form, it is necessary to acquaint the student with the biography of the composer, with his work and his era. The boundaries of the main and side parties are determined, the connecting and final ones are found. Phrases, sentences, intonations, strokes, articulation, fingering are analyzed - everything that will help determine the artistic and expressive meaning of the themes-images, as well as determine how they are connected: their tonality, modulation and exclusion. In the development, musical material is analyzed, that is, they determine which topics to take for development. It can be a main theme, a side theme, or a completely new theme; tonality, deviations, modulations are determined. In the reprise, similarities and differences with the exposition are determined. The student is required to have a quick auditory reaction to the frequent changes in figurative states that occur in music, instant performance restructuring is especially important, as well as endurance, endurance, emotional uplift and spiritual uplift. When performing a sonata, it is important to achieve tempo unity. Without this, the work can crumble into separate constructions. It is necessary to feel the rhythmic pulse throughout the entire composition, to accurately observe the pauses.

Many sonatas can be presented in an orchestral performance. The student should have an idea about the sound of a symphony orchestra and the timbres of various instruments. It should be discussed with the student which instrument or group of instruments can be entrusted with this part, and in which place the sound of the whole orchestra is required.

The sonata gives the composer great opportunities to reflect the depth of the spiritual world of a person, dramatic situations. The sonata is capable, to a greater extent than other forms, of reflecting the dialectics of the real world.

Those who begin to study music have to deal not with sonatas, but with sonatinas. The word "Sonata" means "small sonata". It is smaller than a real sonata in size, and, moreover, technically easier, simpler in content. Classical sonatinas introduce students to the peculiarities of the musical language of the classicism period, instill a sense of classical form, rhythmic stability of performance. The slightest inaccuracy in sound production, inattention to strokes, overexposure or underexpression of individual sounds become especially noticeable and irreconcilable in them. Therefore, classical sonatinas are very useful for cultivating such qualities as clarity and accuracy in the execution of all the details of the text.

1. Methods and techniques for working on a large form in the lower grades of the music school

When working on works of a large form, the teacher, together with the student, goes through the same stages of work as when working on any other work: a brief musical and theoretical analysis of the work, the stage of working on the details (detailed study of the author's text), the stage of designing the work, test playing, musician's lessons without an instrument (work in the mind, in imagination), classes using the "conductor's" method of work, the method of associations and, at the final stage, the method of performing the work as a whole, acquiring the character of a stage performance. In accordance with these stages of work on a work, the creative process over a musical image consists of “four stages: synthetic coverage (at the familiarization stage), detailed analysis of the author’s text (at the stage of working on details), synthetic differentiated coverage (at the design stage) and synthesis of a higher order (at the stage of preparation for the stage incarnation). . “At the stage of familiarization with the work, the goal of pedagogical activity is to develop synthetic thinking among instrumental students, to form an attitude towards creating the initial simultaneous image of the play, which will require expanding the intellectual background of schoolchildren and enriching their musical baggage” . A brief musical-theoretical analysis of the work will help the student to quickly orientate himself in the work on the work. The stage of working on the details implies a detailed study of the author's text and will require active analytical activity of the student's consciousness. The study of musical notation clarifies the processes of development of the work, clarifies the student's internal auditory representation of each facet of the image, teaches to understand and appreciate the role of individual means of musical expression. A detailed analysis of the author's text provides for the auditory and performing study of melody, rhythm, harmony, dynamics, timbre, texture, but not in isolation, but in close relationship with each other. At the stage of designing a work, the activity of the performer should be aimed at achieving the integrity of the performance. It depends on the ability to generalize the musical material, to combine the learned details into a whole organism. It uses trial playing of the whole work, classes in the "performance", conducting and attracting associations associated with spatial arts. Trial playback of the work in whole and in parts will allow the performer to correct the details of the composition, eliminate inaccuracies, and detect shortcomings in the game. Working in the "mind" leads to the activation of the musician's fantasy, helps to understand the emotional and dynamic weight of each fragment of the work. S.E. Feinberg calls on performers to constantly train their inner ear, thanks to which the form of a work acquires the necessary harmony and order of all elements among themselves ”(Feinberg S.E. “Pianism as Art”). Conducting helps to embrace the entire work with “one circular motion, a continuous arc thread” (E. Koland), to convey the unceasing flow of the sound stream, and will contribute to the harmony of the form of the work. The method of associations was widely used in pedagogical practice by F. Busoni, G. G. Neuhaus and S.E. Feinberg. Comparing the exposition of the sonata by the Allegro Viennese classics with the “facade of a building”, S. E. Feinberg formed in the minds of students an idea of ​​it as a “whole inseparable given in space” that cannot be disassembled in time, referring individual topics to the present, past or future. Thus, at the stage of designing a work, the work of the performer should be aimed at achieving a monolithic performance of the work. The goal of the final stage of work on the work is to achieve the level of "aesthetic completeness" (M.M. Bakhteev). A.P. Shchapov urged schoolchildren to give the performance of the work from beginning to end the character of a concert rehearsal, a real stage performance, and not just a test, “with full mobilization of spiritual strength and sensual responsibility”, as at a concert. The performance of a work in its entirety develops emotional endurance, strengthens auditory attention, concentration, motor freedom, and technical endurance. In addition to performing the piece as a whole, another method of working on a piece is performance practice. R. Schumann advised young performers before performing on stage to train the ability to freely imagine music mentally, without the help of an instrument. “Only in this way will inner sources be opened, more and more clarity and purity will appear,” he believed. N.K. Medtner recommended that performers alternate between playing the instrument with a mental check of the learned pieces during the breaks between stage performances. He was convinced that internal auditory performance, or "meditation", would help the musician to clearly feel the lines of the form of the composition, to control the form as a whole with the ear. "A pianist can present a piece in a complete, complete form ... as if already written or performed."

Music is the art of auditory impressions. It is on the basis of auditory impressions that an idea of ​​various musical phenomena is created. Communication with music is always colored by a certain feeling, which leads not only to experiences, but also to understanding its content. “Listening, we not only feel or experience certain states, but also ... make a selection, evaluate, therefore, think.” The creative image of a pianist depends on his outlook, on the stock of general and musical-theoretical knowledge. “In the performing arts, creative imagination can be shown by those who have great musical experience, know more about diverse music, and have learned a greater number of pieces of music.” “You need to know a lot, and understand a lot, not only in music, but also in the work that you listen to, and on which you work – all the more so.”

Disclosure of the artistic image is the main and most important problem of the performing arts. The aesthetic interpretation of the performed work depends on the quality level of creative and professional capabilities. The process of cognition of the image is based on a deep study of the musical text of the work, form, musical language and style. Over time, the musical language has evolved. Each era marks previously unnoticed features and intonations of the musical image. New means of expression arise that expand the worldview, enrich the auditory experience and thereby activate the productive activity of the performer's auditory imagination. "A bright, reliable, convincing embodiment of a musical work in real sound and bringing it to the attention of the audience is the main goal of a pianist."

Speaking about the style of a work, one must understand what is meant by this concept. “From a theoretical point of view, style is “the unity of systematically organized elements of the musical language, due to the unity of the system of musical thinking. (M. Mikhailov) For the performer and listener, this is the semantic world created by the composer, the world of his feelings and ideas, which gave rise to his own special “plan of expression” (R. Barth), that is, everything that distinguishes the music of one composer from the music of another.” The ability to identify this difference and reflect it in your performance is the main task of a performing musician. “Understanding the individual stylistic features of the composer is what the performer needs first of all… He must understand that each stylistic formation has its own characteristics, certain forms and features inherent only to it, and it cannot be mixed with others arbitrarily at will… One thing is clear: to perform Bach it is necessary differently than Mozart, and Mozart differently than Beethoven, Beethoven differently than Schumann or Chopin, etc. And this “otherwise” refers both to understanding the nature of the work being performed, and to understanding the style of a given composer, a given artistic movement and sometimes even the style of an entire era.

1. Problems when working on a large form in elementary grades

The tasks of the integrity of the construction are set. The boundaries of the main and side parties, the boundaries of development, reprises. In the lower grades, there are many variations, where a single through development (in contrast to the early sonatinas with a closed form) is very important caesura (D. Kabalevsky).

In sonata form, there are various forms of development and reprise. It is important to seek and find closeness to orchestral colors in Mozart and Haydn.

If the hands get tired at the end of the game, you need to monitor the economical use of energy. Clamped, isolated fingers - lighten the weight of the hands, alternate tension with relaxation. Use exercises: "shaking the thermometer", "swaying" (Schmidt-Shklovskaya, "On the development of pianistic skills"). By the senior classes, the student should acquire more skills in pianistic movements. A variety of textures - a variety of techniques. The problem of cantilena sounding is very complex, especially in the works of I.S. Bach.

The student must master several types of legato and non legato, depending on the texture (nocturnes, where the extended sound is absolute legatissimo, the transfer of gravity to the fingertips). The lighter legato is also played with slightly outstretched fingers, not sharpened, but very sensitive.

Non legato - good grip on the key. If the hand follows the fingers in cantilena, there must be a hand spring in non legato. The pedal technique on the cantilena should be special (more often connecting).

Staccato-martelato - an exact hit in the middle of the key.

Staccato is light - especially often used in the first parts of classical sonatas, without unnecessary movements.

Staccato-piccicato - the melody retains its legate line, but at the same time the fingers go as if "under itself". An example is Bertini's Etude No. 7.

Chord technique is important: the student must hear every sound of the chord.

Accompaniments that present a certain difficulty in performance:

1. Albertian basses. The difficulty lies in the first finger. Chord with the fifth or third fingers, the first finger is easy, without raising the hand, there should be no muscle tension in the shoulder. In the future, the first finger is not needed, the fifth - with a good ejection to it, learn at a very slow pace.

2. Marquise-octave basses. The main role is given to the fifth finger.

3. Drum bass - ostinato figure. The main thing is to listen to evenness, to hear the melody and bass.

4. Romantic accompaniment (nocturnes) - a small swing to the bass at a fast pace. Listen to the last beat in the measure. Accurate selection of fingering is important.

5. Waltz accompaniment: chord - bass echo. Entry from above to the bass, movement in an ellipse.

Often technical errors are rooted in rhythm, especially dashed. Purely motor sensations: a short note is lighter than a long one, there is no special movement for it.

The longer the note, the later the pedal is played. Exercises: connection of one sound with the third of a chord, with the fourth, with the fifth step, etc. (pedal exercises by E. Gnesina, Tetzel's prelude). The connecting pedal is taken in the "Old French Song", in the play "The Disease of the Doll" by P. I. Tchaikovsky. The straight pedal is used in dance music.

Principles of playing with a pedal:

1) one harmony - one pedal; binding - with detention (R. Schumann - "Romance");

2) on a transparent texture - a transparent pedal in the classics, a pause requires pedalless playing;

3) shoot hands and feet together before a pause;

4) the ends of phrases - without a pedal.

Mozart emphasizes dance, stroke.

In Haydn, in addition to the stroke, rhythm is emphasized, it is more definite, a pedal is required for the bass (especially the extreme parts of the cycle).

Beethoven has a different pedal - on an octave presentation, the pedal connects the melody, this is closer to the romantic principles of taking the pedal.

Bach has a pedal - only a bunch (Invention No. 7 three-part).

The student should be aware that the pedal is used relatively little in classical sonatinas. It is necessary to draw the student's attention to the fact that the pedal should not be thick anywhere and darken the pattern of the melody or accompaniment.

Conclusion

In conclusion, I would like to say that work on large-scale works contributes to the development of the student's musical thinking, the most complete disclosure of his creative potential. In this case, it is necessary to take into account all the individual characteristics of the student, namely: giftedness, culture, taste, feeling and temperament, richness of imagination and intelligence of each child. Mastering a large form requires the student to think logically, analyze, know music theory, as well as good performance training. Success can be achieved only by continuously developing the student musically, intellectually, pianistically and artistically.

Bibliography

1. Asafiev, B.V. Selected articles about musical enlightenment and education. [Text] / B.V. Asafiev. - M., 2011. - 152 p.
2. Barenboim, L.A. Musical pedagogy and performance. [Text] / L.A. Barenboim. - L .: Music. Leningrad. department, 2009. - 356 p.
3. Berkman, T.L. Piano teaching methodology. [Text] / T.L. Berkman. – M.: Enlightenment, 1977. – 104 p.
4. Kauzova, A. G. Theory and Methods of Teaching Piano Playing. [Text] / A.G. Kauzova, A.I. Nikolaeva. - M., 2001. - 273 p.
5. Medtner, N.K. Everyday work of a pianist and composer. Textbook [Text]./N.K. Medtner. - M., 1963. - 157 p.
6. Milic, B. Education of a pianist student. Toolkit. [Text] / B. Milic. - M., 2012. - 183 p.
7. Milshtein, Ya. I. Questions of the theory of the history of performance. [Text] / Ya.I. Milshtein. - M.: Soviet composer, 1983. - 266 p.
8. Prokhorova, I. Musical literature of foreign countries./I. Prokhorova. - M., 2003. - 112 p., ill.
9. Savshinsky, S.I. The work of a pianist on a piece of music. [Text] / S.I. Savshinsky. - L., 1964. - 184 p.
10. Schmidt-Shklovskaya, A. On the upbringing of pianistic skills. Toolkit. [Text] / A. Schmidt-Shklovskaya. - M.: Classics-XXI, 2009. - 36 p.
11. Shchapov, A.P. Piano Pedagogy. [Text] / A.P. Shchapov. - M.: Soviet Russia, 1960. - 172 p.
12. Shchapov, A.P. Piano lesson at a music school and college. Toolkit. [Text] / A.P. Shchapov.– M.: Klassika-XXI, 2009.–176 p.

Response Plan

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

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

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

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

V. The final stage is the performance on stage.

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

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

1. Acquaintance with the work and its analysis.

2. Detailed work on the work.

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

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

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

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

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

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

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

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

2. Parsing skills.

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

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

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

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

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

3. The game by heart.

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

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

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

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

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

1. The sound of the instrument

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

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

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

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

2. Phrasing

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

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

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

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

3. Dynamics.

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

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

4. Agogika - a sense of rhythm, meter.

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

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

5.A fingering

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

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

6. Pedalization.

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

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

1. difficulties not related to quick execution;

2. work on virtuosity.

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

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

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

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

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

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

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

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

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

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

3-part form

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

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

Variations

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

Rondo

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

Concert

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

V. The final stage is the performance on stage.

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

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

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

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

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

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

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

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

Application.

PERFORMANCE AND METHODOLOGICAL ANALYSIS OF THE WORK

Sample plan (option one)

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

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

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

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

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

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

four . Analysis of the invoice, its features.

5. Tonal plan of the piece, characteristic modulations.

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

7. Features of articulation, touch.

8. Rhythmic and metrical difficulties.

9. Harmonic and modal features.

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

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

12. Analysis and placement of a possible pedal.

13. Pianistic features: coordination, fingering features;

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