Yulia Gennadievna Tyugasheva
Methodical development "Principles of work on polyphonic works in piano class DSHI"

1. Introduction.

For general musical education, for students of a children's music school, the development of polyphonic hearing. Without the ability to hear the entire musical fabric works, follow all the lines during the game musical presentation, their coordination, subordination to each other, the performer cannot create an artistically complete image. Is the student playing a homophonic harmonic or polyphonic piece, he always needs to understand the logic of the movement of texture elements, find its main and secondary lines, build a musical perspective of different sound planes.

2. Views polyphony.

With elements polyphony students encounter already in the initial period of learning. Know what types are polyphony and what is their essence. « Polyphony» - Greek word. Translated into Russian, it means "polyphony". Every voice in polyphonic music is melodically independent, therefore all voices are expressive and melodious.

subvocal view (polyphonic Russian songs) based on the development of the main voice (in the song - singing). The remaining voices of its branch are more or less independent. They contribute to an increase in the overall melodiousness of melodic development (a musical example of a Russian folk song "And I'm in the meadow").

Contrasting polyphony based on the development of independent lines, which are not characterized by commonality origin from one melodic source (Bach compositions). One or the other voice comes to the fore (a musical example of I. Bach "Minuet")

Imitation polyphony is based on successive performance in different voices, either the same melodic line (canon, or one melodic passage - the theme (fugue). All voices are generally equivalent, but in the fugue (variety of fughetta, invention)- the leading role of the voice with the theme, in the canon of the voice containing the most individualized part of the melody (music example by J. Bach "Two-Part Invention" in D minor).

3. Work principles over different kinds polyphony in the lower grades of the Children's School of Art.

For beginners, the most intelligible educational material in terms of content is the melodies of children's and folk songs in monophonic transcriptions. Songs must be chosen simple, but meaningful, with bright intonational expressiveness, with a clear climax. Further, purely instrumental melodies are involved. Thus, the focus of the student's attention is the melody, which must first be sung expressively, then played expressively on piano. At first work is underway on polyphonic arrangements folk songs of the sub-vocal warehouse. Tell: started the song, sang, then picked up the choir ( "Voices", varying the same melody. We need to separate the roles. The student sings and plays the lead singer, the teacher plays the choral part on piano. Then switch roles, having previously learned all the voices by heart. The student feels the independent life of each part and hears the whole piece in its entirety, in combination of both voices. Further, both parties are played by a student, this creates a figurative perception of voices. A number of other pieces of the under-voice are also being learned. polyphony. The concept of imitation must be revealed using examples available to the student. "In the green meadow..." the melody is repeated an octave higher - like "echo", the melody is played by the student, the echo teacher, then vice versa. This is especially useful when the imitation is accompanied by a melody in another voice. Immediately accustom the student to clarity in the alternate entry of voices and to the clarity of their conduct and ending. The upper voice is f, the echo is p, i.e., a contrasting dynamic embodiment of each voice is necessary. So that the student hears not only a combination of two voices, but also their different colors. After mastering simple imitation (repeat motif in another voice) starts Job over the pieces of the canonical warehouse, built on the stretta imitation, which enters before the end of the imitated melody. Here, not one phrase or motive is imitated, but all phrases to the end. works. Overcoming this new polyphonic difficulty - work in stages:

First, rewrite the play in simple imitation, putting pauses in line with the appropriate voices;

Further, the entire text is played in the ensemble, but in the author's version, then everything is played by the student himself. Then this exercise can be played by ear from different notes. What does the student take for himself? He quickly gets used to polyphonic texture , is clearly aware of the melody of each voice, their vertical relationship. He sees, grasps with his inner ear the discrepancy in time of identical motives. Hears the introduction of the imitation, combining it with the same phrase that is being imitated, and connecting the ending of the imitation with a new phrase. This work is very important, since the stretta imitation in polyphony Bach occupies great place. Lungs polyphonic pieces and. Bach from « Notebook A. M. Bach- the most valuable material, it is actively developing polyphonic thinking of the student, fosters a sense of style and form. IN work on polyphony main principles of work on the work. Characteristic polyphony- the presence of several simultaneously sounding and developing melodic lines, hence the main task is the ability to hear and lead each voice polyphonic development individually and the totality of voices in their interconnection. In a two-part composition work over each voice - to be able to lead it, to feel the direction of development, to intonate well. When studying polyphonic pieces main work is conducted on melodiousness, intonational expressiveness and independence of each voice separately. Independence of voices is an indispensable feature of any polyphonic work, and it manifests itself in next:

2. different, almost never coinciding phrasing;

3. mismatch of strokes;

4. mismatch of climaxes;

6. mismatch of dynamic development.

The dynamics in Bach's pieces is aimed at revealing the independence of the voice. His polyphony is characterized by polydynamics and above all dynamic exaggerations must be avoided. A sense of proportion in dynamic change is essential for a convincing and stylish performance of Bach's music. The peculiarity is that Bach's compositions do not tolerate nuanced variegation. Long build-ups, significant climaxes, large constructions performed in the same plan of sound or contrasting sections are possible, but not a constant change of colors. Often dynamic escalation in topic is based on like steps. Be sure to pay attention to the special structures of Bach's motifs. They start on the weak beat of the measure and end on the strong beat. As if they are off-beat in nature, the boundaries of the motive do not coincide with the boundaries of the measure. Dynamic pathos, significance are characteristic of Bach's cadences, especially if the melody develops in the sound of f, this also applies to cadences in the middle works. Braudo revealed a distinctive feature of Bach's style - this is a contrast in the articulation of adjacent durations, that is, small durations are played legato, and larger ones non legato and staccato, depending on the nature of the piece (there are exceptions to the d-moll minuet, all legato is the nature of the song warehouse, Braudo called it "reception of the eighth".

4. Common disadvantages when playing polyphonic pieces.

Common deficiencies in the game polyphonic pieces including that the student casts the sound of a given voice, does not hear its connection with the entire melodic line, and does not translate it into the next melodic passage in meaning, the voice. Sometimes, it withstands some sound and does not balance its fading sound with the strength of the next one, as a result, the sound line is broken, the expressive meaning is lost. In a two-part composition, you need to seriously work on every voice, to be able to lead it, feeling the direction of development, to intonate well and, of course, apply the necessary strokes. It is necessary to feel and understand the expressiveness of each voice and when they sound together. The student must be aware that different voices, in accordance with their expressive meaning and melodic pattern, phrasing, sound character, strokes can be (and often are) quite different. This requires not only careful listening, but also special work. One must be able to play each voice from memory, which will help its correct auditory perception and performance. The overall sound will set the student the task of identifying the timbre of the sound line.

5. Features work on polyphony in the senior classes of the Children's Art School(polyphony).

In polyphonic work the difficulty increases, since there are not two, but more votes. Concern for the accuracy of voice leading makes you pay special attention to fingering. The most difficult constructions require a good legato. It is necessary to use complex fingering techniques - a silent substitution to maintain voices, "shifting", "slip". A new difficulty also appears, this is the distribution of the middle voice between the parties of the right and left hands. The accuracy and smoothness of voice leading here will largely depend on the fingering.

In polyphonic works knowing each voice by heart from beginning to end is not at all necessary, although it is advisable in some cases. We accept this way work: after reading the essay, carefully analyze each part of it, isolating complex constructions, analyzing their structure. Disassemble each such construction by voices, play separately with proper fingering, correct phrasing and precise strokes. Next, move on to a combination of different voices and then to full polyphony. The same work swipe over the next section, and so parse everything work. And then return to what seems to be the most difficult. It is useful to teach to listen to the conversation of voices in order to catch vocal-speech intonations; pay attention to the melodiousness of the sound of each voice - this is one of the requirements when performing polyphony.

In the future, all the time to return to the most difficult places and play voices separately, especially where there are two or three voices in one part, in order to maintain accuracy in voice leading.

For understanding polyphonic work it is necessary to imagine its form, theme and its character, to hear all its implementation. Need a big Job over the first holding of the theme - the main artistic image of the composition. It is necessary to know whether there are stretch themes in magnification, in circulation. Represent the melodic pattern and character of the opposition, know whether it is retained or not. Teach them first separately, then in combination with the topic. It also applies to interludes, to know what melodic material they are based on. Identify cadence turns and their role. To be able to hear not only the horizontal, but also the vertical, that is, the harmonic basis that arises from the combination of melodic voices. When learning, first play with a rich sound, the whole musical fabric should sound well, clearly.

6. Conclusion.

Before a teacher who deals with students of any degree of preparedness, there is always a serious task: teach to love polyphonic music, understand it with pleasure work on a polyphonic piece. Polyphonic way of presentation, artistic images polyphonic works, their musical language should become familiar and understandable for students.

Mastery polyphony gives a lot students: educates ear, timbre variety of sound, the ability to lead a melodious melodic line, educates the skill of playing legato, develops accuracy, preciseness of sound, develops special obedience, flexibility of the hand and fingers, combined with sound certainty.

Development of full perception polyphony unthinkable without the music of Bach, which combines the features of both polyphonic, and homophonic-harmonic thinking. The most vivid thematicism and clear logic of Bach will serve as a starting point for children to get acquainted with polyphony.

I believe that polyphonic music is accessible and interesting for young musicians, and it should be mastered from the initial stage of learning to play the instrument.

7. Note examples.

8. Literature.

1. A. Alekseev « Methods of learning to play the piano»

Moscow. "Music".1971

2. N. Kalinina Bach's clavier music piano class»

Leningrad. "Music". 1988

3. I. Braudo "On the study of Bach's clavier compositions at a music school"

Moscow. « Classic XXI» . 2001

MUNICIPAL EDUCATIONAL INSTITUTION OF ADDITIONAL EDUCATION OF CHILDREN
CHILDREN'S MUSIC SCHOOL
SHCHELKOVSKY MUNICIPAL DISTRICT
MOSCOW REGION

Methodical message

"Work on polyphony in the lower grades of music school".

Teacher

Shchyolkovo-2011

Work on polyphony in music school

Folk music, especially the music of the Russian people, is always imbued with the spirit of the ensemble, collectivity, carries the traditions of polyphony.

The melodic melodiousness of folk music is by its nature not monophonic. She strives for collective intonation, for revealing herself through the chorus, through polyphony. Classical music- in the opera, in the symphony, in chamber forms - she always gave high examples of rich and diverse polyphony, dating back to folk tradition. Polyphony, as the active force of music, could not but attract creative attention composers of various genres throughout the history of music. Composers have never treated polyphony with indifference. Learning polyphony is the key to mastering the art of playing the piano. After all, piano music is all polyphonic in the broadest sense of the word. To master the piano well, as Yuri Bogdanov said, one must play etudes and works. Therefore, in the initial years of study at a children's music school, it is necessary to cultivate interest and love for music, and, consequently, for polyphonic music.

The best guiding thread in the world of music for a child is a song. It is she who enables the teacher to interest the student in music. The first grader willingly sings familiar songs, listens with interest and guesses different character plays that the teacher plays to him (funny, sad, dance, solemn, etc.) Along the way, the baby should be told that sounds, like words, convey content, different feelings. I usually conduct a “game” with a student at the first lesson to determine the nature of the music. First, I play different pieces for him, where he must determine the mood that the composer conveyed, then I ask the student to determine the nature of the music by name or by a picture that clearly conveys the mood. Children especially like the pieces from the collection "Introduction to Music" by Artobolevskaya. For example, the play "Where are you, Leka", according to the picture, the children tell a whole story about why the dog is sad. The picture accompanying the Minuet clearly conveys the era of that time, the costumes of the dancers at the ball. According to the stories of children, one can determine the horizons of the child, his lexicon, sociability, etc. This is how musical impressions gradually accumulate. Melodies of children's and folk songs in the easiest monophonic arrangements for piano is the most intelligible educational material for beginners in terms of content. Careful choice of repertoire is of great importance in the musical success of the student. Songs should be chosen simple, but meaningful, characterized by bright intonational expressiveness, with a clearly defined culmination. Thus, from the first steps, the focus of the student's attention is the melody, which he expressively sings, and then just as expressively tries to "sing" on the piano. The expressive and melodious performance of monophonic songs-melodies is later transferred to the combination of two of the same melodies in light polyphonic pieces. The naturalness of this transition is a guarantee of maintaining a keen interest in polyphony in the future.

The polyphonic repertoire for beginners is made up of light polyphonic arrangements of folk songs of an under-voiced warehouse, close and understandable to children in their content. The teacher talks about how these songs were sung by the people: she began to sing the song, then the choir (“voices”) picked it up, varying the same melody. For example, the song "Oh, you, winter - winter ...". It can be performed in a "choral" way, dividing the roles: the student plays the lead part, and the teacher on the other piano "depicts" the choir, which picks up the lead melody. After two or three lessons, the student performs the “accompaniment voices” and is clearly convinced that they have no less independence than the lead melody.

The active and interested attitude of the student to polyphonic music depends entirely on the method of work of the teacher and his ability to bring the student to the figurative perception of the basic elements of polyphonic music.

From the first grades of the school, the student must get acquainted with all types of polyphonic writing - subvoice, contrast, imitation - and master the elementary skills of performing two, and then three voices in light polyphonic works of various nature. But it is hardly advisable to introduce the first grader to the term imitation. It is easier to reveal this concept using examples that are accessible and close to the baby. So in plays like the children's song "On a Green Meadow ...", you can play the initial melody an octave higher and figuratively explain to the student the imitation, that is, the repetition of a motive or melody in another voice, as a familiar concept of ECHO. The perception of imitation will be greatly enlivened by playing in an ensemble: the student plays the melody, and the teacher plays its imitation (ECHO), then vice versa. Imitation is the main polyphonic way of developing the theme. This technique is especially useful in plays where imitation is accompanied by a melody in a different voice, as in piece No. 17 from the collection "Piano ABC": it could be called "Cuckoos", so much the comparison of imitation with the roll call of two cuckoos suggests itself here. In the named collection there are many etudes and pieces built imitatively on the themes of a song and dance character (etudes No. 17, 31, 34, 35, 37). The best pedagogical material for educating a pianist's polyphonic sound thinking is the clavier heritage, and the first step on the way to understanding polyphony is the well-known collection called Anna Magdalena Bach's Notebook. The small masterpieces included in the Music Notebook are mostly small dance pieces - polonaises, minuets, marches, distinguished by an extraordinary richness of melodies, rhythms, and moods. "Notebook" - this is a kind of home music albums families. This included instrumental and vocal pieces of various kinds. These pieces, both his own and those of others, were written in a notebook by his own hand, sometimes by his wife Anna Magdalena Bach, there are also pages written in the children's handwriting of one of Bach's sons. Vocal compositions- arias, chorales included in the collection - were intended to be performed in the home circle of the Bach family. There are nine Minuets in the collection. At the time, the Minuet was a common, lively, well-known dance. It was danced in home environment and 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. A good illustration of the balls of that time in Artobolevskaya's collection "First Encounter with Music". The attention of children should be drawn to the costumes of men and women, which to a greater extent determined the style of dancing: for women, creolins, immensely wide, requiring smooth movements, for men - legs covered with stockings in elegant high-heeled shoes, with beautiful garters - bows at the knees. The Minuet was danced with great solemnity. The music reflected in its melodic turns the smoothness and importance of bows, squats and curtsies. After listening to the Minuet performed by the teacher, the student determines its character, that it resembles more a song or a dance, therefore the character of the performance should be soft, smooth, melodious, in a calm, even movement. Then it is necessary to draw 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 they were sung by two singers: the first high female voice is a soprano, and the second low male voice is a bass, or two voices perform two different tool. 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.

big educational value for hearing has the performance of two voices in different instrumentation. To this end, it is useful to play the first studied polyphony samples together with the student so that he really hears the combination of two voices. One voice is performed by the teacher, the other voice by the student. If there are two instruments, it is useful to play both voices on two instruments at the same time - this gives each melodic line more relief. It is also useful to separate voices through an octave (upper - flute, lower - violin). The upper voice is in place - the lower one is an octave down, the lower one is in place - the upper one is up an octave. As much as possible, voices can be divided into two octaves. If two voices pass simultaneously in the part of any hand, we can recommend that the student first play these constructions with both hands: in this way it will be easier for him to achieve the desired sonority and the goal of the work will become clearer. It is necessary to ensure that the student can play each voice from beginning to end completely and expressively. The value of working on voices by students is often underestimated; it is carried out formally and is not brought to that degree of perfection when the student can actually perform each voice as an independent melodic line. After careful study of individual voices, it is useful to teach them in pairs. To ensure the necessary auditory control, it is expedient, when performing voices, to play them for the first time not from beginning to end, but in separate small constructions, returning repeatedly to the most difficult places and playing them several times. Very effective method work for advanced students is to sing one of the voices while others are played on the piano. It is also useful to sing polyphonic polyphonic works in chorus. This contributes to the development of polyphonic hearing and introducing students to polyphony. Sometimes it is useful to teach two voices, playing in turn in each of them only those segments that should prevail in their own way. semantic meaning with two-part performance. If there are three or more voices, it is useful to work on each pair of voices. So, for example, with a three-voice presentation, it is useful to separately teach the upper and middle voices, upper and lower, lower and middle. It is very useful to play all the voices, focusing your attention on any one of them. Remove the middle voices (they are like filling), and lead the extreme ones, they are like a skeleton.

The upper voice is melodic, the lower voice is harmonic. Use timbre fantasies: lead one voice on the forte, removing the rest on the piano. When the middle voice stands out, it is difficult, but very useful to do. To hear the lower voice - change the voices crosswise, transfer the lower voice to the upper one, and the upper one to the lower one, this is difficult, but effective. Be sure to hear long notes and delayed ones. To hear harmony formed by several voices - (vertical). Hear horizontal. Play slowly and with stops on the downbeat.

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 is a quality without which it is impossible to convey its music stylistically correctly. Bach does not have an outpouring of emotional feelings, but a concentration of feelings - self-restraint, turning inward. Everything that is written in the text should sound: clarity, accuracy, melodiousness in sound. What is progressive in the text is played legato, the jump is the removal of the hand. Bach has equal shares, does not stand out strong beat. He puts down the phrasing in size. The main thing is not to break the line, and the beginning of the topic is not as important as its end. Bach creates surround sound, harmonic fullness. For any work on clavier works Bach should be aware of the following basic fact. In the manuscripts of Bach's clavier compositions there are almost no performance instructions. Then it was accepted, because there were no musicians - performers in our understanding of the word, on the other hand, Bach meant almost exclusively the performance of his works by his sons and students, who were well acquainted with his principles. With regard to dynamics, it is known that Bach used only three designations in his compositions, namely: forte, piano and, in rare cases, pianissimo. Bach did not use the expressions crescendo, dim, mp, ff, forks denoting amplification and weakening of sonority, and finally, accentuation marks. The use of tempo notation in Bach's texts is just as limited. And where they are, they cannot be taken in the modern sense. His ADAGIO GRAUE pace is not as slow as ours, and his PRESTO is not as fast as today's. There is an opinion that the better you play Bach, the slower you can play it, the worse you play, the faster you need to take the tempo. Liveliness in Bach's works is based not on tempo, but on phrasing and accents. 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.

2 - in different, almost nowhere coinciding phrasing (for example, in bars

3 - in the mismatch of strokes (legato and non legato).

4 - in the mismatch of culminations (for example, in the fifth - sixth measures, the melody of the upper voice rises and leads to the top, and the lower voice moves down and rises to the top only in the seventh measure)

6 - in the mismatch of dynamic development (for example, in the fourth measure of the second part, the sonority of the lower voice increases, and the upper one decreases).

Clavier works are for the most part classified as works with unmarked articulation. Those uncomplicated clavier works that make up the main Bach repertoire of a schoolboy are completely devoid of any performance instructions.

Of the 30 inventions and symphonies, only the symphony in F minor contains two leagues. From all of the above, it is clear that single performance instructions found in Bach's manuscripts can serve as valuable material for research on the performance of early music.

We know that he himself intended light clavier pieces not for concerts, but for teaching and home music-making. Therefore, the real tempo for the invention, the little prelude, the minuet, the march is to consider at the moment the tempo that is most useful for the student. What pace is the most useful at the moment. The tempo at which the piece is best performed by the student. Teaching tempo has as its main goal not preparation for fast tempo, but preparation for understanding music. The fast pace makes it impossible to listen to the music.

What the student gains when working at a slow pace - an understanding of music - is the most essential. You should imagine the pace, as if they were being sung, sing them in your voice or mentally to yourself. This is the easiest way to set the pace, devoid of haste and immobility. But one should also make sure that the slow tempo does not turn into a series of slow, monotonous movements that have no connection with the music itself.

MATERIALS USED:

1. A. Alekseev "Methods of learning to play the piano."

2. G. Neuhaus "On the art of piano playing"

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

4. Materials of refresher courses.

5. N. Kalinina "Bach's clavier music in the piano class."

MOUDOD Children's Music School of the Shchelkovsky Municipal District of the Moscow Region

materials

for certification

Class teacher

piano

Kuznetsova

Nadezhda Mikhailovna

Plan:
1. Introduction.
2. Features of polyphonic music.
3. Work on polyphony.
4. Conclusion.
5. List of references.

Introduction

Not every pianist, in his concert practice, considers it obligatory to perform polyphonic works, but every teacher cannot imagine educating a pianist without studying polyphony and mastering the technique of its performance.
Why is it necessary to work on polyphony, what are the features that make it possible to single it out as a special section of the work?
The answer is simple: all piano music is, in a sense, polyphonic. Even homophony, in which there are no "concert" voices, but only voices that complement the melody harmonically, rhythmically, timbre, is a "multi-layered" construction. Not only the dominant melody lives its own life, but also the bass and middle voices. The melody is in the foreground. The bass serves not only as a support for harmony, it leads its own melodic line, which is often, as it were, a kind of opposition to the upper voice. The middle voices, together with the bass, form a timbre - harmonic and rhythmically characterizing background, draws a situation, creates an atmosphere in which the "main character" lives - the melody. Middle voices often give their lines - echoes.
The performer should not only know all this, but also hear it during performance. An excellent school for developing the skills of thinking, hearing and the technique of performing a multi-layered texture of any warehouse is the work on polyphony in its purest form.
Work on polyphony develops textural, timbre, linear hearing; technique (performing several voices with one hand at once, maintaining a good legato), hand coordination (performing with different strokes: legato in one hand, non-legato in the other) and polyphonic thinking.
It is important to teach the child to hear and think polyphonically. Polyphonic hearing refers to the ability to hear, trace and correlate the movement of several melodic lines, textural layers. Polyphonic thinking is manifested in the ability to imagine the simultaneous development of several melodic lines, musical themes. Hearing acquires information, and thinking processes it.

Features of polyphonic music

Polyphony in translation from the Greek poly - many, phone - sound, that is, literally - polyphony. In polyphony, the voices are melodically independent and more or less equal in their meaning.
The polyphonic warehouse of music has a continuous, fluid character.
As a rule, it lacks periodically uniform stops, clear caesuras, rhythmic repetition, and symmetry of measures. Moreover, the uniform entry of voices, the mismatch of caesuras in different voices, the superposition of voices contribute in the best possible way to the continuity of musical speech. Polyphony can be sub-voice (simultaneous sounding of several sub-voices - variants), contrast (voices do not have a single theme) and imitation (the melodic line runs in different voices).
The most important means of polyphony is imitation (from Latin word imitation - imitation), that is, the repetition of a theme or melodic turn in any voice immediately after another voice.
Imitation can be varied - in any interval, both from above and from below. But highest value has imitation in the upper fifth or lower fifth, that is, imitation in the dominant key (as well as imitation in the octave). This imitation usually begins fugues and other polyphonic works.
In the melody of each voice, it is usually expressed by a freely developed melodic line. It is subject to the "tensions" and "discharges" of the melodic movement. There are no uniform accents, symmetrical roundness of parts. Hence the peculiar character of polyphonic accents, more connected with linear development than with rhythmic accents in themselves, more horizontal than vertical, more motoric than ponderous and steplike.
That is why the technique of deploying motifs is of great importance in the polyphonic style. It is based on the free, naturally - continuous development of movement, on the deployment of a melodic line from the theme, on smooth transitions, a gradual increase in tension. It uses such methods of linear development as development to the height (movement up - rise, increase in tension, movement down - decline, weakening of tension), rhythmic revival (compression of movement by introducing faster rhythmic units, expansion of movement - by introducing slower units ), the subordination of external dynamics, usually expressed by the designations forte, piano, crescendo, diminuendo, etc., to internal dynamics, the dynamics of melodic development.
Higher art form polyphonic art is undoubtedly the fugue, where the elements of imitation polyphony reach the fullest possible embodiment. To perform fugues, you need to start getting acquainted with polyphony and work on it from the 1st grade of a music school, having gone a long way from subvocal and contrasting polyphony to imitation and counterpoint.

Work on polyphony

Polyphony is difficult material to perceive. Therefore, with young children, work on polyphonic works should begin with plays in which there are elements of polyphony (arrangements of folk songs). It is necessary to sing such works by voices a lot.
The study of light clavier works by J.S. Bach is an integral part of the work of a schoolboy - a pianist.
From the 2nd, 3rd year of study, the students' repertoire includes works from the "Notebook of A.M. Bach". The composition of this work includes small masterpieces of J.S. Bach - different in character, interesting in content, diverse in terms of pedagogical tasks.
One of the most popular in educational practice is J.S. Bach's collection "Little Preludes and Fugues". It was written with a modest purpose - to be exercises for students. But these miniatures are not as easy as they might seem. In addition to artistic merit, "Little Preludes" give the teacher the opportunity to deepen the student's acquaintance with characteristic features Bach's phrasing, articulation, dynamics, voice leading, as well as help explain the concepts - opposition, imitation, hidden polyphony and much more, which students will need to know in the subsequent stages of working on polyphonic works.
How to start work on the prelude? Of course, first of all, with the definition of her character, mood. The teacher needs to play the piece. Determine the tone, textural features, the development of the melodic line, the number of voices - and draw a conclusion about the content of this play. In connection with the nature of the prelude, it is necessary to "instrument", that is, to determine what sound each of the voices will be performed. Then you need to deal with the form: the number of parts, cadences, climaxes, tonal plan. From this follows a dynamic plan (usually contrasting). Next, the most the main problem- this is the articulation and motive structure of the melody.
After the "Little Preludes" you can move on to more complex works by J.S. Bach. Pedagogical purposes 15 two-voice inventions and 15 symphonies are devoted. Here I would like to quote the words indicated by J.S. Bach on the title page of the inventions. These words clearly describe the lofty educational tasks that Bach set himself when creating them:
“A conscientious guide, in which clavier lovers, especially those eager to learn, are shown a clear way how to play cleanly not only with two voices, but with further improvement, correctly and well play the three required voices, learning at the same time not only good invention, but also correct development; the main thing is to achieve a melodious manner of playing and at the same time acquire a taste for composition.
Particular attention in the study of clavier works by J.S. Bach requires knowledge of the historical originality of this section of study and the difficulties associated with it.
The first difficulty is related to the musical text, which is the basis of the student's work.
The second is related to the peculiarities of the keyboard instruments that existed in the first half of the 18th century, for which Bach's clavier works were actually written.

When working on clavier works by J.S. Bach, one should be aware of the main fact: there are almost no performance instructions in the manuscripts of clavier works.
As for dynamics, it is known that Bach used only three designations in his compositions: forte, piano, in rare cases, pianissimo. Bach did not use the expressions crescendo, diminuendo, mezzo piano, fortissimo, or accent marks.
The notes of tempo notation are also limited in Bach's texts.
You should know that in the musical text that we give to the student, the vast majority of performance instructions do not belong to Bach, but are included in the text by the editor. Isai Alexandrovich Braudo advises, along with the performing version, to get acquainted with the author's text. The editor's advice should be heeded, because they not only indicate certain performance techniques, but also help to understand the nature and meaning of the music.

The second difficulty that we encounter when working on clavier works by J. S. Bach is the fact that they are not all written for the piano.
At that time there were three main instruments - harpsichord, clavichord and organ.
The clavichord is a small musical instrument with a quiet sound. This instrument is not characterized by bright colors and sound contrasts. However, depending on the nature of the keystroke, some sonic flexibility can be given to the melody.
In contrast to the subtle and soulful sonority of the clavichord, the harpsichord has a more sonorous and brilliant playing. The harpsichord has two keyboards: the lower - the first and the upper - the second.
In general, the harpsichord has four sets of strings, that is, four registers, which are distributed between two keyboards. Each keyboard has two registers. All registers at the request of the performer can be turned on or off by means of special levers. Keyboards can also be connected. If the keyboards are connected, then when you press a key on the first keyboard, the corresponding key on the second keyboard is automatically pressed. Thus, the sound of the melody is enriched with upper and lower octave doublings.
On the harpsichord, the sound is extracted by a solid wedge, which directly transmits finger pressure to the string.
Most of all, the difference between piano and harpsichord playing is dynamics.
If we compare the dynamic means of the piano with dynamic means harpsichord and clavichord, you can see the following:
- the piano does not have any octave doubling of the harpsichord, there is no keyboard register change. It does not have the expressive vibration of the clavichord.
- on the other hand, the piano has a sensitive and mobile dynamics of a large range, which is not available to either the harpsichord or the clavichord.
When we talk about the use of piano dynamics in the performance of harpsichord music, we do not mean an attempt to imitate the sonority of ancient instruments on the piano.
One of the remarkable properties of the piano is the ability to perform works of various eras and styles on it.
As we know, the sound of the harpsichord does not depend on how the key is struck. The necessary registers are set on the harpsichord before performance. The pianist is not able to fix the necessary sound colors. Before performing, he must imagine in his imagination the colors he needs and then create these colors in the process of playing.
The piano cannot compete with the harpsichord in its ability to create contrasting timbres, but the piano surpasses the harpsichord in its ability to give dynamic flexibility to the melody. In this respect, the piano develops what is found in the clavichord.
Thus, the piano makes it possible to combine the contrasting instrumentation of the harpsichord with the flexible performance of the melody by the clavichord.
"Invention" - this word meaning "invention" in Latin, J.S. Bach called small polyphonic pieces that he composed especially for his students. These were a kind of exercises necessary in order to master the techniques of performing complex polyphonic works, in particular fugues.
The name is chosen by the composer extremely accurately. Inventions are indeed full of inventions, witty combinations and alternations of voices.
But inventions are not exercises! These are bright works of art, each of which embodies a certain mood.
The work on investments can be divided into several stages:
- preparatory,
- analysis this work,
- work on the work.

Preparatory stage

Before starting to introduce the student to the work. It is necessary to tell him about the era in which it was written, about the instruments for which J.S. Bach wrote. Referring to the instruments of that time in a conversation with the student will facilitate the search for the most accurate definition of the nature of the pieces, the correct articulation and dynamics.
In Bach's time, all music was polyphonic. The main feature of that time was not the beauty of the melody, but the development of the theme, its development and shaping.
The student must understand the originality of Bach's style. The method of extracting sound must always be collected, strong, even on the piano, which should not be vague. In Bach's works there is always sublime calmness and severity. Greatness with saturation of emotional states.
Second phase. Analysis of this work
This includes the analysis of the musical form of the invention, the definition of the nature, the tempo of this work.
The third, main stage - work on the work
This stage is very voluminous and lengthy and therefore it can be divided into several parts.
1. Subject.
Determine the boundary of the topic, its nature.
The nature of the theme and the whole work depends on the articulation, i.e.
sound extraction method. Immediately pay attention to the intonation of the topic.
It is useful to teach the topic in different registers and in different keys.
the method of selecting it by ear, since the invention takes place in different
keys.
Teach the topic together with the teacher - the student plays the topic, the teacher -
opposition and vice versa.

2. Work on the melodic line of each voice.
Start learning at a slow pace, as the child is better
There is a process of understanding music, hearing it. Learn separately
every motive.

3. Intermotive articulation.
Separation of motifs from each other with the help of caesura.
It must be remembered that rhythm and articulation are the main
means of expression.

4. Dynamics.
In Bach's time, there was no problem of dynamics, since in-
Instruments were manuals with different dynamics. On execution
works of Bach on the piano, two types of dynamics are used: inside-
motivated and terraced.
One large build runs in a single dynamic window
race.
Intra-motivational dynamics depends on the teacher - his knowledge, music
kal culture, stylistic taste.
When imitating during the introduction of the second imitating voice
The first should not be interrupted and ended.
Cadances are usually associated with a climax.

5. Fingering.
It is determined internally by the motive structure. Sequences are being played
with the same fingers. Busoni's edition uses not only
laying, but also shifting fingers. Silent is not desirable
substitution, as it complicates the task, negatively affects the performance
nie.

6. Temp.
It is not an end in itself. The pace depends on the imagery. It should be useful and convenient for the student.

7. Pedal.
Not a textural requirement. Should not interfere with the
conscience. She has only a bridging role.

Conclusion
The study of polyphony is one of essential conditions development of the following qualities in a pianist:
- thinking,
- intellect,
- musical logic,
- polyphonic hearing,
- sense of style
- coordination of movements.
The main directions and ways of working on the work:
1. Work on votes. Achieving maximum expressiveness in each voice:
- Work on motives, isolating them from the phrase and striving
to expressive performance (correct articulation, dynamic underlining, intonation);
- Work with a teacher on two pianos;
- Work with singing;
- Work in different registers;
2. Execution of works as a whole, achieving expressive, meaningful play, fulfillment of all details, climaxes.
The teacher must achieve from the student an independent conscious analysis of polyphonic pieces and their further performance. The child must learn to speak with musical sounds, to convey his feelings and thoughts through the intonational and speech expressiveness of voices. The art of J.S. Bach immerses the child in the world of sublime, even religious feelings, educates him in morality, masculinity and spiritual purity. Polyphony is the best means of developing the spiritual qualities of a pianist. Undoubtedly, polyphonic music is the basis for the upbringing of a real musician.
Bibliography

1. Buluchevsky Yu.S., Fomin V.S. Brief musical vocabulary for students. - L .: Music, 1986. - 216 p.
2. Braudo I.A. On the study of Bach's clavier compositions at a music school. - M.: Classics-XXI, 2003. - 92s.
3. Milshtein Ya. Well-Tempered Clavier I.S. Bach.
4. Savshinsky S. Pianist and his work. - M.: Classics-XXI, 2002. - 244 p.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

Work on polyphony

Polyphonic repertoire as a basis for the auditory education of pianists in the junior and middle grades of the music school

Polyphony (poly- + Greek phonos - voice, sound) is a type of polyphony in music, based on the equality of voices that make up the texture, and in which each voice has an independent melodic meaning (a related term is counterpoint). Their association is subject to the laws of harmony, coordinating the overall sound.

Invention (from Latin inventio find; invention, in the late Latin meaning - [original] invention) - small two- and three-voice pieces of a polyphonic warehouse, written in various types of polyphonic technique: in the form of imitation, canon,

The canom in music is a polyphonic form in which the melody forms a counterpoint to itself. The main technical and compositional technique underlying the canon is called (canonical) imitation

Fumga (from Latin fuga - "flight", "chase") is a musical form that is the highest achievement of polyphonic music. There are several voices in the fugue, each of which, in accordance with strict rules, repeats, in the main or modified form, the theme - a short melody that runs through the entire fugue.

Sub-voice polyphony is characteristic of Slavic music, in works of this type it is easy to distinguish the main voice from the accompanying voices, the solo voice is more developed, the other voices play the role of accompaniment. In terms of intonation, they are related to the main voice (there is no such connection in contrasting polyphony). Examples are the plays of M. Krutitsky "In Winter", D. Kabalevsky "At Night on the River", D. Levidova "Lullaby", etc.). Accompanying voices can not only sing along, but give a new character to the sound, for example, Alexandrov's Kuma, at the beginning of which we hear a calm character, at the end - a dance character. The content should be clear to the student (words suggest content).

The next step is to get acquainted with the concept of imitation, where the melody appears in different voices alternately. Soprano and bass - imitation (the bass "mimics" the soprano), the melody moves from one voice to another. The simplest examples for acquaintance: Gedike "Rigodon" op.46 No. 1, K. Longchamp-Drushkevichova "Two Friends", Myaskovsky "Carefree Song". In imitative polyphony it is difficult to say which voice is the main one, in interludes - the upper voice. WITH imitative polyphony we get to know each other at various plays, fughettas, fugues. Then you can move on to the concept of canon (ie, imitation of the entire work). Voting does not take place immediately. First, the upper voice, almost ended - the lower one enters, then in the middle the 2nd voice. Canon in Greek means pattern, rule. Examples can be used as initial material: R. Ledenev. Little canon (F-dur), Russian folk song "On the river, on the Danube" arranged by S. Lyakhovitskaya and L. Barenboim, I. Khutoryansky "Little canon" (d-moll), Russian folk song "Oh, you, zimushka » in the processing of I. Berkovich.

In two-voice polyphonic pieces, try to emphasize imitation not with dynamics, but with a timbre that is different from the other voice. If the upper voice is played loudly, and the lower voice is played lightly and quietly, then the imitation will be heard more clearly than when it is performed loudly. It is this manner of playing that reveals the presence of 2 independent voices, which is the basis for polyphony. That is, dynamics is not the best way to make the theme in any voice clearly distinguishable. What is heard is not what is loud, but what has its own special timbre, phrasing, articulation, different from another voice. The light sound of the bass voice contrasts well with the ringing "singing" of the top voice and is perceived more distinctly than the loud performance of the imitation. polyphonic repertoire pianist melody

In classes with a student, one should try to include works from different countries and eras in the work, draw the student’s attention to nationality (hidden song, dance), reveal the aesthetic richness and artistic charm of polyphony, teach him to love this music. Polyphonic works should become an indispensable material for the development of musical thinking, for nurturing the initiative and independence of the student, and even the key to understanding all musical styles.

So, in working on polyphony, one should take into account - the ability to hear the melody “horizontally”, revealing emotional and intonational expressiveness in it. For very young pianists, the best repertoire is songs. It is the song that is easiest to interest the child, to find with him mutual language. Bright, catchy melodies and rhythms of folk and the best contemporary songs close to children in images, available for all types of performance.

From monophonic songs, it is logical to move to songs of a folk character of an under-voiced warehouse, where the second voice is not independent, but only supports the first. Here you can tell the student how these songs were sung by the people: first the singer entered, and only then the melody, slightly changing it, was picked up by the choir with undertones.

At this stage of learning, playing in an ensemble with a teacher is especially effective, simulating folk collective activity. One voice is entrusted to the student, the others are played by the teacher. It is also advisable to turn to the synthesis of vocal and piano performance: we sing one voice - we play the other.

Single-voiced melodies and pieces of a sub-voice warehouse prepare the child for work on imitative polyphony, contrast polyphony. Excellent examples of arrangements of folk songs for beginners can be found in such musical anthologies as the "Collection piano pieces, etudes and ensembles for beginners” (compiled by S. Lyakhovitskaya and L. Barenboim), “Pieces for Piano on folk themes”(Comp. B. Rozengauz), “Collection of polyphonic pieces” (Comp. S. Lyakhovitskaya) and others.

At the next stage of pianistic education, the core of the polyphonic repertoire for junior schoolchildren are the works of the great composer Johann Sebastian Bach.

Maturity, deep content is combined in Bach's works with accessibility, pianism. The composer specially wrote many pieces as polyphonic exercises for his students, striving to develop their polyphonic thinking. These compositions include Anna Magdalena Bach's Notebook for Music, Little Preludes and Fugues, Inventions and Symphonies. The composer sought to ensure that these works were accessible for perception and performance by young musicians. In them, each melodic voice lives independently and is interesting in itself. Without disturbing the sound of the whole and the life of the entire piece of music.

Light polyphonic pieces from Anna Magdalena Bach's Music Notebook are the most valuable material for the development of students' hearing and thinking. The largest dance pieces from the Music Notebook: minuets, polonaises, marches, are distinguished by a rich palette of moods and unusually beautiful melodies. Variety of articulatory and rhythmic nuances.

The timbre is enriched - dynamic representations of the student. He gets acquainted with the originality of Bach's dynamics - its step-like nature, when sonority is added with the first note of each new motive.

The requirements for the melodic ear of a young pianist are also becoming more complicated. First of all, this concerns the articulatory aspects of the melody. The student's ear must master such types of melodic articulation as inter-motive and intra-motive. He learns to distinguish iambic (out-of-bar) and choreic motifs (starting on a strong beat and ending on a weak one).

Even greater opportunities for the auditory education of a pianist are found in the work on Inventions and Symphonies, which is also associated with a higher level of performance. The purpose of the Inventions is formulated by the composer himself: “A conscientious guide in which clavier lovers, especially those eager to learn, are shown a clear way to play cleanly not only with two voices, but with further improvement, correctly and well perform the three obligatory voices. Learning at the same time not only good inventions, but also the correct development; the main thing is to achieve a melodious manner of playing and at the same time acquire a taste for composition ”From this text it follows what high demands Bach made on the melodious manner of playing and, consequently, on the melodic and intonational ear of the performer. The real sound of "Inventions" especially expands the student's stylistic auditory horizons. Auditory imagination plays an important role, connected with the representation of the sound of ancient instruments - the harpsichord and clavichord, the timbre originality of each. In contrast to the subtle melodious sonority of the clavichord, the harpsichord has a sharp, brilliant, abrupt sound. The feeling of the instrumental nature of this or that invention extremely activates the pianist's timbre ear and allows him to achieve the possible through the seemingly impossible in the colorful sphere of polyphonic technique.

Hosted on Allbest.ru

Similar Documents

Polyphonic forms in the piano compositions of Frederic Chopin; general direction of development musical language, innovative techniques: contrast and imitation polyphony, their procedural significance as a dramaturgy factor on the example of Ballad No. 5 f moll.

term paper, added 06/22/2011


Features of education of musical culture of students. Vocal and choral work. Performance repertoire of students. Listening to music. Metrorhythm and game moments. Intersubject communications. Forms of control. "Labor Songs". Fragment of a music lesson for grade 3.

test, added 04/13/2015


Formation of independent musical thinking of a novice pianist. Reading from a sheet. Transposition, selection by ear and concert performance. Accompaniment, playing in the ensemble. Work on art. The development of musical memory.

training manual, added 03/31/2009


The nature and specificity of the piano sound. Goals and objectives of pianistic training and education. Features of the development of pianist students on initial stage. Selection of exercises and musical pieces for the development of expressive melodious sound extraction by children.

term paper, added 01/16/2013


Reasons for the popularity and demand for piano music for Abdinurov's children. Using miniatures "Birth", "Lullaby", "Breath of Spring", "Dance", "Memories", "My Baby" in order to improve the musical techniques of beginner pianists.

abstract, added 11/09/2013


Classical repertoire for folk instruments 19th century The creation of the first chromatic harmonica orchestras, the balalaika orchestra and the features of the formation of their repertoire. Composers and performers-populists. Works for stringed plucked instruments.

term paper, added 12/16/2014


Exploring the system vocal exercises as the most important tool for the formation and development of vocal skills in primary school children music schools. characteristics of a child's voice. Methods of education of vocal-speech and emotional culture.

thesis, added 05/06/2017


Acquaintance with short biography V.A. Mozart, analysis of creative activity. general characteristics works "Ave verum corpus". Motet as a polyphonic vocal composition, a genre of professional musical art.

term paper, added 10/11/2016


The main figurative-emotional mood of the play. Waltz cis-moll form scheme by F. Chopin. Analysis of the expressive means of the work, construction of the melody. Acceleration of the tempo (Piu mosso) after the second and third passages of the additional refrain, its harmony.

term paper, added 12/03/2014


Physical basis sound. Properties musical sound. Designation of sounds according to the letter system. The definition of a melody as a sequence of sounds, usually associated in a specific way with a mode. Teaching about harmony. Musical instruments and their classification.

Methodical development

« Work on polyphony in junior piano classes»

piano teacher

highest qualification category
MBUDO "DSHI s.Ivanteevka"

Saratov region.

Introduction.

Relevance of the topic: Work on polyphony is one of the most difficult areas of education and training of students. The study of polyphonic music not only activates one of the key parties perception musical fabric– its versatility, but also successfully affects the overall musical development student, because the student comes into contact with the elements of polyphony in many works of a homophonic-harmonic warehouse. "Polyphony" is a mandatory attribute of training programs in the specialty "piano" at all levels of education: from music school to university. Therefore, today, the topic is relevant in matters of the formation of a modern musician-performer.

The purpose of my work- to show the main methods of working on polyphonic works in the lower grades of children's music schools and children's art schools using examples of works.

Tasks- to help the performer determine the melodic lines of voices, the meaning of each, hear their relationship and find means of performance that create differentiation of voices, the diversity of their sound.

Considering the topic of polyphony, one should not forget about other areas of its existence. In polyphonic literature, a large role is given to two-part works of large form. In the pieces of small forms, especially the cantilena character, the three-dimensional texture, which combines melody and harmony, is more fully used. More serious attention is paid to ensemble playing and sight reading. In the process of musical-auditory and technical development of a student in grades 3-4, new qualities are especially prominent, related to the enrichment of previously acquired and the tasks that arise in this segment of learning. Compared to grades 1-2, the genre and stylistic framework of the program repertoire is noticeably expanded. Great importance is attached to performance skills associated with the possession of intonational, tempo-rhythmic, fret-harmonic and articulatory expressiveness. The application of dynamic nuances and pedaling is significantly expanded. In the piano texture of the works, new, more complex techniques of fine technique and elements of chord-interval presentation appear. By the end of this period of training, differences in the level of development of musical-auditory and piano-motor abilities of students become noticeable. This allows us to predict the possibilities of their further general musical, professional and performing training. The artistic and pedagogical repertoire of the student includes piano music different eras and styles. Compared with the two initial years of study in grades 3-4, the specifics of educating musical thinking and performing skills when studying different types piano literature.

Work on polyphonic arrangements of folk songs (N. Myaskovsky, S. Maykapar, Yu. Shchurovsky). The musical development of a child involves the upbringing of the ability to hear and perceive as separate elements of the piano fabric, i.e. horizontal, and a single whole - the vertical. In this sense, great educational value is attached to polyphonic music. With the elements of sub-voice, contrast and imitation polyphony, the student is already familiar with the first grade of the school. These varieties of polyphonic music in the repertoire of grades 3-4 do not always appear in an independent form. Often we find in children's literature combinations of contrasting voice leading with subvocal or imitative. A special role belongs to the study of cantilena polyphony. IN school curriculum includes: polyphonic arrangements for piano of folk lyric songs, simple cantilena works by I. Bach and Soviet composers (N. Myaskovsky, S. Maykapar, Yu. Shchurovsky). They contribute to a better listening of the student to voice leading, cause a vivid emotional reaction to music. Let us analyze individual samples of polyphonic arrangements of domestic musical folklore, noting their significance in the musical and pianistic education of a child. Let's take for example such plays: "Podblyudnaya" by A. Lyadov, "Kuma" by An. Aleksandrova, “You are already a garden” by Slonim. All of them are written in couplet-variation form. Singing melodies, when repeated, "grow" with undertones, "choral" chord accompaniment, plucked folk-instrumental background, colorful transfers to different registers. An important role in the polyphonic education of the student is played by arrangements of folk songs. An excellent example of a light processing of a Russian folk song can be "Kuma" by An. Alexandrova. The play has 3 sections, like 3 verses of the song. In each of them, one of the voices conducts an invariable song tune. Other voices have the character of undertones; they enrich the melody, revealing new features in it. When starting work on a piece, one must first of all introduce the student to the song itself, performing it on an instrument. The figurative representation of the content helps to realize the musical development of the piece and the expressive meaning of polyphony in each of the three "verses". The first "verse" seems to reproduce the image of Kuma, sedately starting a conversation with Kuma. The undertones in the lower register are distinguished by their smoothness, regularity, and even the well-known "decency" of movement. They must be played slowly, with a soft, deep sound, achieving maximum legato. When working on the first "verse" it is useful to draw the student's attention to the characteristic modal variability, which emphasizes the folk-national basis of the piece. The second "verse" differs significantly from the first. The theme moves into a lower voice and acquires a masculine connotation; she is echoed by a cheerful and sonorous upper voice. The rhythmic movement becomes livelier, the mode becomes major. In this cheerful "duet of Kuma and Kuma" it is necessary to achieve a relief sounding of the extreme voices. Of great benefit can be the simultaneous performance of their student and teacher - one plays for "Kuma" the other for "Kuma". The final "verse" is the most cheerful and lively. The movement of eighths now becomes continuous. The lower accompaniment plays a particularly large expressive role in changing the nature of the music. It is written in the spirit of typical folk-instrumental accompaniments widely spread in Russian musical literature. The playfully playful nature of the music is emphasized by the imitations of voices skillfully woven into the fabric of the piece. The final "verse" is the most difficult to perform polyphonically. In addition to the combination of two rhythmically different voices in the part of one hand, which also took place in the previous couplets, it is especially difficult to achieve a contrast between the parts of the two hands here: the melodious legato right hand and a light staccato in the left hand. Usually, the student does not immediately give the forced performance of the roll calls of voices. The study of "Kuma" An. Alexandrov is useful in many ways. In addition to educating polyphonic thinking, skills in performing various combinations of contrasting voices, the piece provides an opportunity to work on a melodious song melody and get acquainted with some of the stylistic features of Russian folk music. hands, contrasting strokes, hearing and feeling the integral development of the whole form. We find the combination of subvocal fabric with imitations in the Ukrainian folk songs arranged by I. Berkovich for piano, processed by N. Lysenko, N. Leontovich. His plays were established in the school repertoire: “That is dumb for no one” “Oh, because of the fire of the Kam'yanoi”, “Plive choven” “The lischinonka rustled” In which the couplet structure is enriched not only with imitations, but also with a denser chord-choral texture. The student comes into contact with contrasting voice leading mainly when studying the polyphonic works of J. S. Bach. First of all, these are pieces from Anna Magdalena Bach's Notebook.

II. Detailed Analysis work on J.S. Bach "Little Preludes and Fugues". J.S. Bach "Little Prelude" in A minor (first notebook). In general, the proposed interpretation of the theme sounds like this: the further development of the polyphonic fabric is characterized by re-conducting themes in the lower and upper voices in the key of the dominant. The prelude is written in the character of a two-part fughetta. Two emotional images are felt in the two-bar theme that opens it. The main, longer part (ending with the sound for the first octave) consists of a continuous "rotational" movement of three-sound melodic links, each of which is built on a gradual expansion of the volume of interval "steps". Such a development of the melodic line necessitates expressive intonation of ever-increasing tension from smaller to larger intervals, while maintaining an exceptionally melodious legato. In a short conclusion of the theme, beginning with sixteenth notes. It should be noted intonationally the tritone turnover (la-re #) with the falling sound coming after it. Conducting a response (lower voice) requires more dynamic saturation (mf). The opposition, rhythmically similar to the theme, is set off by a different dynamics (mp) and a new stroke (meno legato). After a four-bar interlude, the theme reappears in the main key, which sounds especially full when intonation of a major turnover directed to C-sharp. The three-bar coda consists of recitatively pronounced monophonic lines in sixteenth notes, coming to the final cadence. The prelude is an excellent example of Bach's imitation polyphony. The assimilation of the structural and expressive features of her voice leading prepares the young pianist for further study of the more developed polyphonic fabric in inventions and fugues.

I.S. Bach "Little Prelude" in C minor (first book). the performance of this prelude by students is usually distinguished by a desire for speed, toccato, its rhythmically the same type of texture often sounds monotonous due to children's unclear ideas about the form, logic and beauty of harmonic and tonal relationships. Not infrequently, this hinders the quick memorization of music. A detailed analysis of the prelude allows you to hear three distinct parts in it: 16 + 16 + 11 measures. Each of them reveals its own characteristics of harmonic development, predicting the principles of interpretation of the whole and parts. In the first part, they appear first in the form of a harmonic commonality of both voices in two measures (bars 1-2, 3-4,5-6). Further (bars 7-10), the functional stability of the upper voice is combined with the identification of nasal shares of the progressively falling line of the bass voice (sounds C, B flat, A flat, G). By the end of the movement there is a more pure change of harmonies. With the relative stability of the harmonic fabric, everything is performed on the piano, with only an occasional shading of the bass voice line towards the end of the movement. In the middle movement, the culmination is achieved by means of harmony. Here, with the almost complete preservation of the sounds of the bass (organ) "re" part of the right hand, continuous bar-by-bar changes of function occur. In conditions of general emotional tension, the figurations themselves sound melodically rich. At the same time, upper sounds are heard in them, reminiscent of the line of an independent voice (F sharp, G, A becar, B flat, C, B flat, A becar, G, F sharp, E becar, E flat, D). Corresponding to the revelation of the hidden voice in the part of the right hand, a wave-like melodic movement is felt in the right notes of the out-of-bar figures of the lower voice. In the final part of the prelude, the harmonic tension subsides and the melodic figuration leads to the final light G-major chord. Having revealed the figurative content of the prelude, we will try to analyze the methods of its performance. The initial quarter note of each measure in the left hand is played by plunging it deep into the keyboard. The figuration in the right hand, entering after a pause, is performed by a light touch of the first finger on the keyboard, followed by the support of the third or second on the initial sounds of the second quarters of measures. At the same time, the exact removal of the left hand on a pause makes it possible to hear it well. The alternation of hands in figurations by sixteenth notes on the third quarters of measures occurs with their barely noticeable fall on the keys in the non legato technique. The recommended pianistic techniques will undoubtedly help in achieving rhythmic accuracy and evenness of sound. In the most dynamically saturated middle part of the prelude, bass sounds are marked with a short pedal, especially in places where the parts of the hands are written in a wide register arrangement. Once again, I would like to emphasize the need for the student to understand the logic of harmonic development when perceiving the musical fabric of the prelude.

III. Work on imitative polyphony - inventions, fughettas, small fugues. In contrast to the contrasting two-voice, here each of the two polyphonic lines often has a stable melodic and intonational imagery. Already when working on the lightest examples of such music, auditory analysis is aimed at revealing both the structural and expressive side of the thematic material. After the performance of the work by the teacher, it is necessary to proceed to a painstaking analysis of the polyphonic material. Having divided the piece into large segments (most often based on a three-part structure), one should begin to explain the musical and semantic syntactic essence of the theme and opposition in each section, as well as to the interludes. First, the student must determine the leaf arrangement of the topic and feel its character. Then his task is to express its intonation with the help of means of articulatory dynamic coloring in the found main tempo. The same applies to the opposition, if it is restrained. Already in two-voice small preludes, fughettas, inventions, the expressive features of the strokes should be considered horizontally (i.e., in a melodic line) and vertically (i.e., with the simultaneous movement of a number of voices). The most characteristic horizons in articulation may be the following: smaller intervals tend to merge, larger ones - to separation; mobile metric (for example, sixteenth and eighth notes) also tends to merge, and more calm (for example, quarter, half, whole notes - to dismemberment).

Yu. Shchurovsky "Invention" C-dur. In Y. Shchurovsky's "Invention" all sixteenth notes set out in smooth, often scale-like sequences are played legato, longer sounds with their wide interval "steps" are divided into short leagues, staccato sounds or tenuto. If the theme is based on chord sounds, it is useful for the student to play its harmonic framework with chords, directing his auditory attention to the natural change of harmonies when moving to a new segment. For a more active listening of the student to the two-voiced fabric, one should pay his attention to the reception of the opposite movement of voices, for example, in the "invention" of A. Gedicke.A. Gedicke "Invention" F-dur.N. Myaskovsky "Two-Part Fugue" d-moll.N. Myaskovsky "Hunting Perklichka".
Conclusion. The student almost immediately learns the melodic pattern of each voice with their contrasting directed pitch movement. When performing imitation, especially in the works of J. Bach, a significant role is given to dynamics. Unfortunately, we still observe today the unjustified use of wave-like dynamics in small sections of Bach's music. When considering the dynamics of three-voice cantilena small preludes, the student's auditory control should be directed to episodes of two-voices in the part of a separate hand, set out in long notes. Due to the rapid decay of the piano sound, there is a need for a greater fullness of the sound of long notes, as well as (which is very important) listening to interval connections between the long and shorter sounds passing against its background. Such features of the dynamics can be traced in the small preludes Nos. 6,7,10. (the first notebook of J.S. Bach). As we can see, the study of polyphonic works is an excellent school of auditory and sound preparation for the performance of piano works of any genre.

Bibliography:

1. Alekseev A.D. Piano teaching methodology. Ed.3 - M .: Music, 1978.

2. Milic B. Education of a pianist student in grades 3-4 of the music school. - K .: Music. Ukraine, 1982.

3. Natanson V. Issues of piano pedagogy, issue I. - M., 1963.

4. Feinberg S. E. Mastery of the pianist. - M .: Music, 1978.