Moscow Department of Education

Northeast District Office of Education

GBOU Multidisciplinary School 1220

Corps of additional education (DO No. 9)

Art direction

Comprehensive educational program of the association

"Children's Brass Band named after G.M. Chertok"

Age of children 7 - 18 years

Implementation period - 12 years

Teachers of additional education:

Doshlov Mikhail Rudolfovich - musical

leader (conductor)

Trumpet class, percussion instruments

Woodwind class:

Ilchenko Sergey Nikolaevich - class of clarinet, flute

Class of brass instruments:

Kulik Alexander Olegovich - trombone class, horns

Lisunov Vladimir Vladimirovich - class of tuba, tenor, baritone

Moscow 2016

Comprehensive educational program of the association

"Children's Brass Band named after G.M. Chertok"

Age of children 7 - 18 years

Implementation period - 12 years

Explanatory note

Music performed by a brass band is one of the most popular, beloved genres. musical art. Amateur and professional orchestras have been accompanying the life of Russians since ancient times. Court, military and civil brass bands were indispensable participants in mass state and public events. The brass band remains an attribute to this day military glory, a kind of page in military history, and our military marches remain the most beautiful manifestations of the patriotic feelings of Russians, the Russian people: beautiful in terms of the richness of melody and arrangements, beautiful in terms of sincerity and extraordinary pride of feelings embedded in the architectonics of the overall sound, beautiful in performance style.

Brass Band. G.M. Chertok TsRTDiU "Ostankino" is a stable team, widely known and popular not only in the Ostankino region and the city of Moscow, but also in other regions of Russia and neighboring countries. The orchestra is proud of its pupils - professional musicians:

Valery Berezin - Doctor of Arts, Professor of the Moscow State Conservatory. P.I. Tchaikovsky.
Vadim Sharapov is a soloist of the Moscow State Academic Philharmonic, Igor Moiseev Ensemble.
Mikhail Titov - Honored Worker of Culture of the Russian Federation, teacher of the military conducting faculty of the Military University of the Ministry of Defense of the Russian Federation.
Sergey Mazaev - musician, actor, leader and soloist of the group "Moral Code".
Vladimir Karpov is an artist of the orchestra conducted by G. Rozhdestvensky.
Vladislav Martynov - artist of the Bolshoi Theater Orchestra.

Our students successfully serve in military bands and professional musical groups in Moscow.

Although the task of the association is not to prepare children for entering musical educational institutions, many children go to study and connect their future life with music.

Since 1988 the team has been wearing honorary title"exemplary children's team". He is a laureate of various competitions and festivals.

The team employs qualified teachers of instruments: woodwinds, brass, percussion and solfeggio. The choice of instrument is based on the desire of the child to play any instrument and, of course, on his physiological capabilities.

The educational program is adapted for its perception by children of younger, middle and older age, designed for twelve years of study. The entire course is conditionally divided into three stages. Each year of study represents a certain stage in the development of cognitive and intellectual-creative abilities of students. At the same time, each stage is an independent, logically completed stage of education, upbringing and development of children. The knowledge, skills and abilities acquired in the first year of study are consolidated in the second, third and further improved in subsequent years.

There is no competitive selection when accepting children, there is a mandatory interview with each candidate for the orchestra, where teachers determine his starting capabilities (hearing, sense of rhythm, breathing, etc.). The main criterion for admission to the team is the child’s desire to master playing a wind instrument.

Relevance of the program

We live in the age of information, computer technology, when the natural performance of music is replaced by electronics. The child becomes isolated from the "live" sound of music. If earlier we could hear brass bands in parks, at holidays and demonstrations, now a brass band is rather a rarity. Classes under the program "Brass band" gives the child the opportunity to try his hand at any wind instrument, get acquainted with the works of world classics, feel like a real artist.

Another problem modern society- disunity of people. Many children do not know how to communicate, make friends. Having come to the orchestra, the child finds himself in a friendly team of teachers and pupils. In the orchestra, senior pupils will always help in a comradely way a novice musician in mastering the instrument. Joint performances, trips to festivals, regular classes in the orchestra unite the guys for many years.

Program goal:

Attracting children to the art of music through practical music-making in an amateur orchestra.

Tasks:

Educational:

1. Contribute to the formation and development of special skills and abilities (setting the embouchure, sound production, intonation, sense of rhythm).
2. Contribute to the memorization of musical terminology.
3. The development of cognitive interest in playing a musical instrument.
4. To work out the performing skills of each member of the brass band, to perform musical works at a good amateur level. Preparation of team members for joint collective activities.
5. Introduce children to the best examples of the world musical culture.

Developing:

1. Contribute to the development of students' speech.
2. Learn to analyze, compare, generalize, prove.
3. Contribute to the formation and development of the student's cognitive interest in music.
4. Encourage students to master all types of memory.
5. Contribute to the formation and development of independence

Educational:

1. Contribute to the formation and development of moral, labor, aesthetic, patriotic qualities of the individual.
2. Develop teamwork skills.

Program features

1. The program consists of three stages:

First stage : Introductory.

Second step : A basic level of.

Third step : Recessed.

1. The student has the opportunity to move from the "preparatory tool" to a more complex "related" tool. For example: recorder - clarinet - saxophone, alto - tenor - baritone - trombone, alto - trumpet, tenor - tuba, alto - horn.
2. The educational and thematic plan is drawn up in stages. The teacher independently determines the topics for a particular year of study.
3. The transition of a student from one level to another is determined by the pedagogical council of the association.
4. Teachers apply uniform methods and principles of work on all wind instruments.
5. Children who have the skills to play musical instruments can be included in the educational process at any level of education.
6. One of the principles of team development is rotation (updating the team with new students).
7. The orchestral group of the association involves children of different ages and years of study, who have shown good results in learning.
8. Such a form of classes as a group with a mixed composition of participants is allowed. On them, more experienced students work together with beginners. Orchestral (ensemble) parts for such classes are selected with different levels of complexity. This allows you to change the composition of the group.

Features of age groups

Performing wind instruments is a complex psycho-physiological activity that requires special musical talent and, moreover, requires good health and a certain physique. Practice shows that lessons on the instruments of a brass band can be started at the age of 10-12, because what younger student the more receptive to learning. It is at this age that the prospect becomes obvious physical formation person. However, you can start learning to play a wind instrument earlier.

For children 7 - 8 years old, we offer to master the simplest instrument - a block flute. This instrument does not require great physical effort, the student receives the basic skills of playing wind instruments, gets acquainted with musical literacy. At this age, there is a transition from the game form of learning to learning process. The result of educational activity - assessment - is put forward in the foreground. Therefore, we try in every possible way to encourage the first successes of the child (praise). In addition, we must take into account that the child already goes to school, and so that classes do not tire much, we teach him to play melodies that are familiar to him. Children like cartoon tunes, popular, folk music.

At the age of 9 - 11 years, the child is invited to master a new instrument - clarinet, cornet, alto, tenor. These are the instruments that make up the brass band. Lessons are getting longer. The guys are fond of new material - simple pieces and orchestral parts.

Age 12-14 years. The physiological capabilities of the child become apparent. At this age, there is a transition to more complex instruments - trumpet, horn, trombone, tuba, saxophone. In psychological development, this is a difficult period in learning. Adolescents enter a transitional age, or the age of rebellion, as psychologists call it. There is an active search for their values, a critical attitude towards adults. During this period, children may have a desire to quit school, new interests may arise. Here, an example of a teacher who is passionate about his profession - a musician, as well as having a strong character and experience can have a strong influence on students. Just as important psychological climate in the team, as a rule, the guys find friends with common interests, including a love of music and they continue their studies on the instrument.

Age 15-18 years. A teenager faces a choice of his future life path.

Some of the guys who have chosen music as their profession enter a music college, and some study in other specialties, while they continue to attend classes, mainly general orchestra rehearsals. As a rule, they take classes more seriously, help beginners, and are an example for them.

The consolidated rehearsal of the orchestra takes place on Sunday, as on this day children can combine relaxation with their favorite pastime, communicate with their peers.

Methodological substantiation

Qualified guidance from teachers gives the learning process a systematic, scientifically based character and contributes to the development of creative activity, artistic abilities of children.

Among the methods aimed at stimulating musical and creative activity, one can distinguish methods that are directly related to the content of this activity. These include the selection of exciting and feasible for the child creative tasks, as well as a variety of forms of lesson activities, attentive and careful attitude to children's creativity, an individual approach.

To a large extent, interest in musical creativity is formed under the influence of various musical, artistic and life experiences. In the practice of orchestra teachers - assisting in familiarizing teenagers with good music, listening to audio recordings, attending concerts, performances, art exhibitions to help broaden your horizons.

It is very important to create a friendly psychological climate in the classroom. Mutual assistance and support of senior pupils is welcomed. In the practice of work, in every possible way to encourage concert performances of children, their participation in various forms of collective musical amateur performances, and playing music for themselves.

Learning to play various wind instruments is built by teachers on the principles of feasibility, strength of mastering musical skills and awareness of actions. Joint technologies and interdisciplinary connections developed by all participants in the pedagogical process help to successfully solve learning problems. The pedagogical process is organized in such a way that it combines the acquisition of theoretical musical knowledge and practical skills and preparation for playing in the orchestra.

Initial musical education is facilitated (the first year of study) and becomes more difficult as knowledge is accumulated and performance skills grow, and by the third year of study, the guys master the instrument and master the skills of playing in the orchestra. Behind all this is the painstaking work of teachers to form a musician. This is a lot of individual work and strict control over the fulfillment of the tasks of teachers.

When studying orchestral parts, etudes and exercises are selected. It is very important that they are bright, juicy, corresponding to the performance on this musical instrument. Most often, at the first stage of training, when it is difficult for a child to master the wind instrument he has chosen for physical reasons, the teacher suggests that the child first master the more pliable brass instrument - viola, or for woodwinds - this is a block flute. On the viola, after 4 months, the child can play in the orchestra, perform simple parts in marches. In parallel, he masters the technique of playing the chosen instrument.

For the development of the musical inclinations of children, their harmonic hearing, there is a piano in the classes in the specialty. Children gather in groups different levels abilities, perception and preparation (this is especially evident in the first year of study), therefore the same exercise is performed by different children for different periods of time, which affects the transfer of the child to the orchestra.

Individual classes are aimed at the development of children, at preparing the weaker ones, pulling up the lagging behind, harmonizing the group as a whole.

Description of the basic methods and forms of work.

The course of study is 12 years.

The first stage of education.

The term of study is 3 years.

1st year of study - classes are held individually 2 times a week for 30-45 minutes.

2, 3 year of study - classes are held individually 2 times a week for 30-45 minutes.

From the second year of training, we unite students in an ensemble of block flutes. Classes are held in a group of 3, 4 people once a week for 45 minutes.

From the 3rd year of study, students who have shown good results in learning, as well as children who have previously learned to play wind instruments, can unite in a group and be involved in a consolidated orchestral rehearsal.

Classes are held 2 times a week for 2 hours.

The second stage of education.

The term of study is 5 years.

The third stage of education.

The term of study is 4 years.

Classes are held individually 2 times a week for 30-45 minutes, as well as in ensemble groups 2 times a week for 2 hours.

In the classroom, various forms of learning are practiced:

• individual sessions
• instrument group lessons
• mixed group
• lessons with an accompanist
• ensembles
• orchestral rehearsal
• work with the music library
• analysis of audio and video recordings

Classes are built according to a specific plan:

Classes by groups of instruments:

1. Greetings, making a lesson plan.
2. Playing sustained sounds, warm-ups.
3. A short break in the game, a conversation on music theory.
4. Scales and arpeggios in different strokes.
5. A short break in the game, a conversation about artistic material, composers, genres of music, styles, musical form.
6. Work on artistic material (analysis and playback of plays, concerts, ensembles).

Orchestral rehearsal:

1. Greeting, drawing up a lesson plan.
2. Orchestra setting.
3. Playing collective exercises.
4. Learning or improving musical compositions.
5. Reading sheet music.
6. Summing up the rehearsal.

Description of the basic methods of work.

• Verbal (conversation, conversation, explanation).
• Visual (the teacher performs fragments of works, orchestral parts, plays in the orchestra with students).
• Practical (exercises on the instrument).
• Analytical (observation, comparison, self-control, introspection).

Forms of control

• Monitoring. While studying with a child, the teacher determines for himself his starting level and draws up a specific lesson plan for a month, half a year. The main observation criteria: attention, musical memory, ear for music, sense of rhythm, independence, discipline.

• Performing independent tasks. Sometimes the teacher gives the student to independently disassemble the sketch or play. This stimulates the student to study, develops discipline.

• Self control. After each orchestral rehearsal, there is an exchange of impressions. The guys themselves understand their mistakes. This makes education flexible, responsive to any undertakings, interesting and productive.

• Viewing, analysis, comparison of video materials of different concert performances.

• Open classes, performances, concerts. The assessment of the audience, colleagues of the performing skills of each musician and the entire orchestra is the most objective, so the leader of the brass band sets the team up for a very intense concert activity. Parents can see what results the child has achieved

Predicted result

Ilevel of study - Introductory

• Simple concepts musical literacy

• Basic musical touches (staccato, legato)
• Notation of dynamics in music
• Basic musical terminology (tempo notation).
• The concept of "Related instrument".
• How to carry out prevention and care of the tool.

• Hold the tool correctly
• Taking the breath right
• Perform scales in one octave to one sign.
• Perform simple etudes and pieces with accompaniment.
• Perform on stage.

II stage of education - A basic level of.

Upon graduation, students should know:

• Basics of musical literacy
• Fundamentals of solfeggio
• More complex strokes (detache, marcato), articulation.
• The concept of the range of the instrument.
• The structure of voices in a brass band.
• On melody and phrasing.
• On the musical texture and timbre organization.
• On tempo and agogics in music.
• About the culture of sound.
• About melismas and grace notes and trills.
• On the work of Russian and foreign classical composers.

• Play scales and arpeggios up to 3 signs.

• Perform etudes and pieces with an accompanist in a wider range.
• Play simple parts on a related instrument.
• Read sheet music.

• Perform simple orchestral parts as part of an orchestra.
• Perform different voices as part of an orchestral group.
• Filter the sound.
• Write a simple 8-bar dictation.

III level of education - Advanced

Upon graduation, students should know:

• Music theory (advanced level).
• On melody and phrasing (advanced level).
• On musical texture and timbre organization (advanced level).
• On the work of Russian and foreign classical composers (advanced level).

• Combined strokes.
• Features of the game in motion.

• Perform scales and arpeggios up to 7 signs.
• Perform etudes and plays with an accompanist of increased complexity.
• Fluently read sheet music.
• Perform your part in an orchestral group in accordance with the composer's intention and the requirements of the conductor.
• Play on the move.

Conditions for the implementation of the program

To implement the program, the following personnel and methodological support is required.

Teachers by groups of instruments:

• recorder, clarinet, saxophone
• trumpet, cornet, viola
• trombone, tenor, baritone, horn
• percussion instruments
• concertmaster (piano)

Methodological support: anthologies, collections of etudes, plays, schools for wind and percussion instruments.

Conditions for the implementation of the program

1. Soundproof room 50-100 sq.m., clean dry air.
2. Availability of the necessary set of tools and related equipment

(remotes, etc.)

1. Music cabinets
2. Piano
3. Computer
4. Uniform for musicians
5. Video and audio equipment
6. Phono and video library

Main works of the orchestra

7. Modern domestic methodology for teaching wind instruments

Domestic wind teachers of the XX century V.M. Blazhevich, B.A. Dikov, G.A. Orvid, N.I. Platonov S.V. Rozanov, A.I. Usov, A.A. Fedotov, V.N. Tsybin formed the so-called "psycho-physiological school of playing wind instruments", the main requirement of which was a conscious attitude to the performing process. Playing wind instruments was considered by them as a complex psycho-physiological act, controlled by the higher nervous activity of a person.

The method of learning to play wind instruments has developed special artistic requirements for performers: "clarity, depth and distinctness of sound, melodious cantilena, vivid emotionality, simplicity and sincerity in expressing feelings."

The musical avant-garde that has existed since late XIX century to the last quarter of the 20th century, made it necessary to improve the performing techniques of the 19th century, as well as to supplement the teaching methods for playing wind instruments with the study of new, non-traditional performing techniques. These include:

1. Permanent (continuous) performance breathing;

2. Playing chords (polyphony);

3. Frullato on brass instruments;

4. The so-called "game in the squares";

5. Quarter-tone alteration;

6. Lip oscillation;

7. Reed pizzicato on clarinet and saxophone (slap-stick);

8. Clap with the palm of the hand on the mouthpiece of a brass instrument;

9. Finger tapping on the valve or instrument body;

10. Playing with the missing part of the instrument;

and much more.

In the post-war period, the level of performing skills of domestic wind players significantly increased. Their achievements in World competitions and festivals are bright pages in the history of world performing culture.

Performers on wind instruments began to perform more often in concerts with solo programs and in ensembles.

15 best wind players received the title of "People's Artist of the Russian Federation". The performing style of these musicians, recorded in recordings, is distinguished by a deep comprehension of the author's intention, a bright artistic individuality, simplicity and sincerity in expressing feelings.

These successes were facilitated by major achievements in the field of teaching wind instruments and methods. In the 20th century, a lot of new, interesting methodological literature was published, four collections of articles and essays “Methods of Teaching Wind Instruments” were published (one edited by E.V. Nazaikinsky and three edited by Yu.A. Usov), appeared on sale and in libraries there are other collections, textbooks and manuals. Book A.A. Fedotov "Methods of Teaching Wind Instruments", published in 1975, has had and continues to have a positive impact on the education of musicians of different generations.

8. Unresolved issues in teaching methods for playing wind instruments.

There are many unresolved problems in the modern method of learning to play wind instruments:

1) Teaching methods for playing wind instruments are poorly linked to achievement pedagogical science and musical psychology;

2) The modern method of teaching wind instruments encourages students to develop musical thinking. Meanwhile, musical thinking, as a creative process, has not been studied on theoretical level and is currently under study. The pedagogical recommendations of wind teachers on this issue are most often not based on science, but are based only on personal experience;

3) When selecting students for classes in wind instruments, the examiners identify the physical data of the child, as well as the makings of an ear for music and musical rhythm. The method of detecting these musical inclinations is not very perfect. Sometimes it is not the most capable child who wins the qualifying competition, but the one who is already familiar with the exam procedure and knows in advance what awaits him at this kind of competition;

4) In the modern methodology of teaching to play wind instruments, the chest-abdominal type of breathing is declared the most rational type of performing breathing, and the chest type of breathing is “anathematized”. Meanwhile, the performing practice of recent years has shown that a wind player can and should use all known types of breathing;

5) B educational institutions countries, few girls learn to play brass instruments. The methodology for staging the performing breath of women playing horns, trumpets, and trombones has not been sufficiently developed. There are almost no women playing these instruments in orchestral groups. Meanwhile, in the US there are many women's brass bands, whose performances invariably arouse the interest of the public;

6) In some conservatories of the country, wind students are not taught editorial work, they are not taught to independently compose cadenzas for performed compositions, they are not taught to make arrangements for their instrument;

7) In our time, many domestic wind players strive to surpass each other in the speed of performance of any compositions that have the indications “allegro”, “allegretto”, “vivo”, “presto”, etc. This trend inevitably leads to a distortion of the author's intention, to contentless, "averaged" game, to the loss of individual timbre. Meanwhile, the given terms do not at all mean “presto possibile” – to play extremely fast. Sometimes the fluency of the fingers and the demonstration of staccato serves as a screen behind which the musician tries to hide the inferiority of the performing culture and poor command of the entire complex of performing techniques. The habit of some young clarinetists to play fast music as quickly as possible is also noted by A.P. Barantsev and V.Ya. Colin.

Professor of the Russian Academy of Music. Gnesinykh A.A. Fedotov, talking with students of the Novosibirsk State Conservatory (Academy) named after. M.I. Glinka, rightly noted that many clarinetists use "leaning breath" only while playing cantilena, and "forget" about it when playing fast music.

8) Some young wind players prefer to use such musical editions, which contain the largest number of editorial embellishments and digressions. There is only one principle - the more, the better! Sometimes this practice serves as an attempt to hide with the help of external effects the lack of deep thought and the lack of performing culture.

9) Describing the state of the modern domestic methodology for teaching wind instruments, the authors of the manuals list mainly achievements and rarely mention shortcomings.

Bibliography:

1. Ancient musical aesthetics. - M .: Music, 1960.

2. Berezin V. Wind instruments in the musical culture of classicism. - M .: Institute of General Secondary Education of the Russian Academy of Education, 2000.

3. Burney C. Musical travels in France and Italy. - M., 1961.

4. Dikov B. Teaching methods for playing wind instruments. Ed. 2. - M .: Music, 1973.

5. Quants I. Experience of instruction in playing the transverse flute // Conducting performance. - M .: Music, 1975.

6. Levin S. Wind instruments in the history of musical culture. - L .: Music, 1973.

7. Musical aesthetics of the Middle Ages and the Renaissance. - M.: Music, 1966.

8. Usov Yu. The state of teaching methods for playing wind instruments and ways of its further improvement // Problems of musical pedagogy (responsible editor M.A. Smirnov). - M .: Moscow state. conservatory, 1981.

9. Usov Yu. History of domestic performance on wind instruments. – Ed. - 2. - M .: Music, 1986.

10. Usov Yu. History of foreign performance on wind instruments. – Ed. 2. - M .: Music, 1989.

Third). The results obtained, in general, allow us to conclude that the personal development of adolescents is associated with the development of intelligence and cognitive structures. CONCLUSION This dissertation research is devoted to the experimental study of older teenagers in music schools and was carried out in the context of the direction of cognitive psychology developed by N.I. Chuprikova and her colleagues...

... "16. These theories are based on the idea that the artistic world created by one nation is incomprehensible to another, that it is inaccessible due to psychological and historical barriers. The history of the development of the musical culture of Khakassia fully proves the inconsistency of these views. Not inventing purely national genres of Khakass opera, Khakass ballet or symphony, but being enriched with well-known experience...

The public education system in Novy Urengoy; - to analyze the structure of the education system in the city, the interaction of its various links; - to establish the level of development of public education in the city of Novy Urengoy at the turn of the 20th - 21st centuries. At the same time, some questions related to the research topic are only posed in the work, but are not considered in detail. In our opinion...

Elementary education took place within the framework of religious dogmas (Roman Catholic or Protestant). Clericalism was a significant brake, which, as the French historian of pedagogy C. Letourneau writes, "paralyzed the school," for example. There was not even a hint of physical education in the schools. The children were constantly hit. Whipped all without exception. From the diary of a juvenile teacher...

To acquire a professional performing qualification, each musician needs to master the skills of working on a variety of musical material. Usually, a wind instrument player deals with two types of musical material: instructive, which includes various exercises, scales and etudes; artistic, including various musical works: pieces accompanied by a pianoforte, chamber ensembles, orchestral works. Work on musical material contains a whole range of technical development techniques. Having systematized this set of techniques for technical development on wind instruments among students of a children's music school, I present each of them separately.

• Working on long sounds:

The performance of long sounds is one of the most common exercises, they are played by all musicians, regardless of their level of training. It is known from practice that long sounds are performed in different ways: in chromatic sequence, in the form of arpeggios, in octaves, intervals, etc.
From my point of view, the most rational way would be to perform the duration of sounds, build in the form of arpeggios. The value of such exercises lies in two points: firstly, in the fact that the student spends less time playing the entire range of the instrument; secondly, and this is the main thing, when performing arpeggio sounds, it is easier for the student to control the accuracy of intonation. When playing long sounds, the student must carefully monitor the length of the sound, intonation stability, timbre and correct the slightest errors in performance.

• Working on scales and arpeggios:

In the formation of the student's performing skills, work on scales and arpeggios plays a very significant role. It makes it possible to improve intonation, to achieve clear combined finger movements, to develop the necessary coordination with the actions of the lips, tongue and breath, to achieve the fullness and evenness of the sound of various registers of the instrument, to master the rhythm of performance, to consolidate fingering skills.
Scales and arpeggios help students master ready-made samples of orchestral texture and thereby reduce the time for technical mastery of musical material.
In practice, various types of scales and arpeggios are used on wind instruments. Thus, diatonic (major, minor) and chromatic scales are most common. In the form of arpeggios, triads, dominant seventh chords and diminished seventh chords are most often used. Mastering various scales and arpeggios, persistent work on them with the aim of constantly improving their performance should be carried out systematically, starting from the first year of training on the instrument. Usually, familiarization with them begins after three or four months of classes, i.e. after the student has mastered the basics of staging and sound production.
Before starting to play scales on an instrument, the student needs to study well the principle of the structure of diatonic scales and their arpeggios. In addition, he must learn to determine major and minor by ear and build major and minor scales from any note. It is necessary to start studying scales with major ones, as they are easier to remember. They should be studied fifth circle, since the principle of gradual addition of key characters will be the most convenient and accessible for students to learn.
It is recommended to perform scales and arpeggios without notes, at a pace accessible to each student, within the mastery of the range. Musicians should be aware that when working on scales and arpeggios, the main task is not to strive for a fast tempo, but to constantly improve the quality of performance. In order to avoid careless, mechanical play of gambl:, it is very important to accustom students to constant auditory control.
Work on scales and arpeggios should be done regularly. However, hobbies for this should not come at the expense of other types of activities (for example, playing sketches or works of art). Therefore, every day a student should work on one or two scales with their corresponding triads.
The sequence of their execution is also essential in working on scales and arpeggios. First, an arpeggio of a major triad is performed in direct movement (quarters or eighths), depending on the student's ability; next arpeggio. This sequence combines scales and arpeggios into a single complex and contributes to the development of not only performing technique, but also a harmonic sense, which is very important. Consider the most typical disadvantages of playing scales and arpeggios:
a) Rhythmic performance
Non-rhythmic performance is one of the more characteristic and frequently encountered shortcomings. It manifests itself in the fact that individual students, when performing scales and arpeggios, do not maintain the tempo they have taken to the end. At the same time, some students, as they approach the end of the exercise, gradually accelerate the pace, while others, on the contrary, slow it down somewhat. In both cases, this is the result of a student's lack of meter-rhythmic sensitivity and poor auditory self-control.
In addition to an arbitrary change in tempo, in the practice of the game there are quite often such cases when students violate the accuracy of the alternation of sounds in various rhythmic constructions. This usually happens when an uncomfortable fingering is used or when uncomfortable jumps are performed.
b) Lack of evenness of sound
The lack of evenness of sound in terms of strength, fullness and timbre coloration is quite common. For example, some sounds stick out noticeably, i.e. sounds louder, others, on the contrary, sound dull and weak. Similar disadvantage partly depends on the design features of spiritual instruments, which do not have the same, full-sounding registers. However, much here depends on the students themselves. Students, knowing the features of their instruments, must correct defects in their design with the help of special exercises. In particular, dull and weak sounding sounds can be blown up and thereby even out the sound of the entire range. It is known from practice that almost every spiritual instrument has such whimsical sounds that should be paid special attention to. This should also include most of the sounds of the upper register of spiritual instruments, since achieving the fullness of the sound requires special exercises. For example, “pushing” notes with the stomach, which thereby prevents the muscles of the lips from “squeezing”.
c) Inaccurate intonation when playing
Inaccurate intonation during the game is associated with an insufficiently developed harmonic sense of the student. An example of this is the student's inability to slightly raise or lower the pitch of sounds, depending on their modal functions. So, for example, not all students understand that the upper introductory tone of the harmonic major and minor requires a partial increase, and the lower introductory tone requires a corresponding decrease; that the end tone of a major triad should perform with a tendency to increase, and the end tone of a minor - to decrease, etc. A student can achieve such intonational flexibility with the help of two main means: the use of the most rational fingering; the use of coordinated actions of the lip apparatus and breathing. Naturally, both of these means should be closely related not only to each other, but also to the student's hearing.
When playing most instruments, auxiliary fingering is usually used to consciously correct intonation defects. It is based on the connection of additional sound holes, or valves, which help to slightly increase or decrease the sound.
d) Lack of expressiveness of performance
The lack of expressiveness of performance is often the result of underestimation of scales and arpeggios as one of the means of developing musical and artistic skills. However, for some reason, students believe that scales and arpeggios are just dry technical exercises that do not help the development of musicality. Like any other type of exercise, scales and arpeggios require expressive performance, which can be achieved only under certain conditions.
One of them is the skillful use of various strokes. In particular, scales and arpeggios are recommended to be played in the following basic strokes:
detache;
legato;
staccato;
portamento.
Moreover, in addition to each of the indicated strokes separately, combinations of several strokes are usually used:
staccato - legato;
legato - detache, etc.
To enhance expressiveness, it is also advisable to use various dynamic shades. Practice shows that the most effective results are obtained by using contrast dynamics (for example: pp and ff), as well as consistently changing dynamics (for example: pp pp). In this case, the crescendo phase usually falls on an upward movement, and the diminuendo phase on a downward movement.
No less important is the rhythmic completeness of the performance. The student should strive to ensure that any scale and arpeggio fit well into a certain metro-rhythmic structure (duoli, triplets, quartoles), and they must begin and end on the strong beat of the measure. Proper breathing will also contribute to the expressiveness of the performance of scales and arpeggios. In particular, one should not change the breath after the opening tone or in the middle of the construction, as this violates the integrity of the musical phrase.
Thus, in order to avoid errors in the performance of scales and arpeggios, students on wind instruments must learn to set themselves certain goals (sonic, technical, etc.). Without this, their work can turn into a mechanical, and therefore useless process.

• Work on sketches:

Etudes usually pursue the development of a number of technical skills, without which the acquisition and improvement of performing skills is unthinkable. These skills include the development of mobility of fingers and tongue, mastery of fingering difficulties, the development of metrorhythmic feeling, mastery of register difficulties.
Despite the difference in goals that often distinguish etudes from each other, they all serve as an excellent means for accumulating performing experience, for studying typical samples of instrumental texture. In addition, etudes contribute to the physical training of the student on the wind instrument.
What are the features of working on etudes?
Some students reduce the study to repeated playing of the etude from beginning to end. Naturally, such work does not bring success, even with a simple playing of an etude (even if it is repeated), the most technically difficult places will never be obtained.
In order to achieve the correct execution of etudes, one must be able to work on them, i.e. learn musical text using certain methodological techniques. First of all, it is necessary to understand the purpose of this study, the features of its construction, the general character musical content and so on. Then it is recommended to play it in its entirety at a slow pace, if possible without stopping. Such trial playback helps to determine the structure of musical constructions in general and the most difficult parts of the etude that require special study.
After a preliminary acquaintance with the etude and determining the plan for working on it, the student must begin to carefully study the individual most difficult places, for which it is necessary to learn the etude at a slow pace and accurately follow the author's instructions. Such a game will enable the student to focus on all the details of the performance.
Isolation of the most difficult places and careful work on them should prepare the student to perform the etude at the proper pace with the implementation of all dynamic and agogic shades. Agogics are small deviations (decelerations, accelerations) from tempo and meter. Playing an etude at a fast pace must be approached gradually, when the student knows the musical text well. Completion of work on the etude should be learning by heart and free, expressive performance by heart. At the same time, the teacher and the student should approach studies with the same exactingness as they would a work of art. This applies to musical phrasing, nuances, the nature of the sound and interpretation of music in general.
For the full-fledged technical development of the student, it is advisable to periodically return to some previously learned etudes in order to achieve greater improvement in one form or another of technology.
Every effort should be made to ensure that the student learns to work independently as early as possible; represented the dependence of technical techniques on the nature of the sound of the work; understood the upcoming tasks in homework; knew how to understand the structure of the study, the type of technique; accumulated means and methods of working on different textures and could apply them without prompting from a teacher.

Used Books:
1. Dances O. I. New methods of playing the flute. Scientific and publishing center "Moscow Conservatory" 2011
2. Trizno B. Flute, Moscow. 1959
3. Yagudin Yu. On the development of the expressiveness of sound, Moscow. 1971

Music works wonders - it affects mood, gives strength in difficult times and has a beneficial effect on well-being and thought processes. We can safely say that music is not only beautiful, but also a therapeutic art. Modern researchers are actively studying the role of music in the development and upbringing of a child, and are anxious that music take its place among the compulsory sciences, as it did in the Renaissance. The American scientist Martin Gardner, through a series of experiments, found out that children of senior preschool and primary school age, who studied worse than their peers, after more in-depth art classes, leveled off in their studies and even succeeded very well in mathematics.

Moreover, in Austria they conducted a curious experiment with younger and older students, during which curriculum some changes have been made. The workload in mathematics and foreign languages ​​was reduced for children and the study hours were replaced with music lessons. And what would you think? For three years, children who studied according to the experimental program showed identical knowledge with their peers who mastered the program without changes. Moreover, grades in foreign languages ​​in children from the experimental classes were significantly higher.

Music classes allow you to keep a balance in the development of the hemispheres of the brain, while classes in the exact sciences alone involve only the left hemisphere more. The most important thing is that the child himself is drawn to art, because the transformation of music into coercion can only end in disgust for the subject.

If you decide to choose music as a hobby for a child, and perhaps as a future profession, think with your child about which instrument will suit him best. On Rambler/Family, read about how to choose an instrument for a baby and what are the positive and negative aspects for those who are intensively involved in music.

Piano

If you are a happy owner of a piano that is still in good condition, do not rush to seat the child at the instrument. Talk to your baby about music first, listen to a variety of classical and contemporary pieces, and find out which instrument appeals to your baby the most. Perhaps he gravitates more towards the strings.

There is another effective way to determine how a child relates to music - take him to a real concert and acquaint him with the work of artists. Luckily, there are new ones all the time. musical events for children who do not tire, but captivate the baby. For example, the festival "Tili Mi Jazz", which includes the performance of children's music, author's arrangements of songs from cartoons and the performance of kind and creative adult inventors.

If the offspring still wants to play the piano, training should begin at the age of five or six, since more early classes can do harm. Until the age of 5, the child’s muscles are not yet ready for serious loads, so setting the hand, developing perseverance while the child is sitting on the edge of the chair and with a straight back, is serious trials for the child's body. Up to 5 years old, you can play with your son or daughter: find sounds by ear, study octaves and their timbre sound.

If you start learning to play the piano in right age and carefully monitor the correct positioning of the hands and sound production, as well as control the correct fit behind the instrument in order to avoid the development of stoop and curvature of the spine, your child will get real pleasure from classes, his fingers will acquire fluency and stretch, his back will always be even, and, to everything else, the baby will develop perseverance and the ability to perfectly perceive and memorize a large amount of information by ear.

Violin

boy with violin

It is said that the violin develops the ear better than other instruments. But some believe that the violin develops scoliosis, because the instrument must be held with the chin, which means that the neck for a long time is in a tense and unfamiliar position. In addition, it is quite difficult, and sometimes painful, to pinch the strings with children's plump fingers.

It is not worth giving up on the idea of ​​learning to play the violin. What if the violin is the perfect instrument for your child? Why miss the chance to develop the musical talent of the offspring? Of course, at first you will have to endure inept passages and unpleasant “meow” sounds, but very soon you will be proud of your little musician.

Saxophone

The saxophone is one of the most romantic instruments, because its timbre is considered the most penetrating and ideal accompaniment for love dates. It is believed that the saxophone is an instrument for boys, but this is not entirely true, because in order to master the technique of playing, you need to have decent lungs and good hearing, and not at all strong muscles and strong fists. The most common version of the saxophone is the alto. Usually it is on it that children are taught, and after graduating from a music school and entering a university or to participate in a jazz ensemble, they choose another timbre - baritone, soprano or tenor - a division identical to the human voice in height.

It is believed that playing wind instruments helps a child cope with ailments such as asthma or tonsillitis at an early stage of development. In addition, when playing the saxophone, the so-called "abdominal breathing" develops, in which the abdominal muscles work. Such breathing is useful in yoga and singing lessons. The only thing to consider is that it is better to start learning to play the saxophone at the age of 10-12 years, when the body is formed and the lungs are strengthened.

Flute

If your soul, and most importantly, your child's interest lies more in a light "fluttering" sound, try the flute. The most difficult moment is to get used to and extract the first sound from the instrument, but then everything will go like clockwork. If the future flute player is under 10 years old, it is worth buying a special J-shaped mouthpiece for the instrument, because a straight mouthpiece can cause problems with the shoulders and back of the child. When the baby has mastered the basics of sound production, it will not be difficult for him to switch to a flute with a straight mouthpiece without any damage to health.

The flute is recommended for children, in particular those experiencing problems with the respiratory system. The point is that the flute requires a deep breath and a slow, extreme exhalation - and this is after all the most intense aeration of the lungs, which can be beneficial with a tendency to protracted bronchitis and colds, with allergic lesions of the respiratory tract, as well as apathy and bad mood.

Guitar

A large number of boys, and girls too, dream of becoming rock stars and impressing the audience with an incredible guitar solo! Perhaps the guitar often takes a leading position when choosing an instrument for learning music. And this is no accident, because the guitar is a huge scope for creativity. Your child will be able to play classical works and favorite songs, and after mastering the acoustics, he can completely try himself as a rock guitarist (although for this you will have to purchase an electric guitar and a couple of basic “gadgets” for it).

Another plus of the guitar is that it is easy to learn to play it for both children and adults, and both in music school, and via the Internet (although the online option, of course, should be left for children from 12 years old, but in emergency cases, when the baby cannot visit the teacher, this opportunity is quite suitable).

You can start playing guitar lessons from the age of 5, because classes develop fine motor skills.

In general, no matter what instrument you choose, the main thing is that your baby is happy and reveals his talent every day!

Library
materials

Istleu Nurlan Kenzhegalievich

Introduction.

gaseous sounding body laba (lip)

How is sound formed?

Ear for music

Development of inner ear.

(ppp, pp, mp, mf, f, ff)

Find material for any lesson,
indicating your subject (category), class, textbook and topic:

you can also choose the type of material:

Brief description of the document:

Istleu Nurlan Kenzhegalievich

THE METHOD OF TEACHING TO PLAY THE WIND INSTRUMENTS.

Introduction.

The method of teaching to play wind instruments is an integral part of the musical pedagogical science that considers the general patterns of the learning process on various wind instruments. Russian pedagogical science in the field of performance on wind instruments has no more than 80 years. She reached new frontiers by assuming and developing further all the best that was characteristic of the Russian school of playing wind instruments. Her successes are known not only in our country but also abroad. Composer Gedicke wrote: the technique of playing wind instruments has advanced so much that if the best performers, especially on brass, who lived 50-70 years ago, heard our wind players, they would not believe their ears and would say that this is impossible. It should be recognized that the theory of teaching methods on wind instruments as part of pedagogical science among other methods is the youngest. Each generation of woodwinders contributes to the technique. The method of teaching on any instrument is part of pedagogy. The word technique of Greek origin, translated into Russian, is the way to something. A technique is a set of methods, that is, methods for performing any work (research, educational). In the narrow sense of the word, a methodology is a way of teaching a particular subject based on the analysis and generalization of the best teachers, musicians and performers. The methodology studies the patterns and techniques of individual learning. The technique contributes to the education of a general musical culture, broadens the horizons of performers. The technique is closer to the specialty. An outstanding performer and teacher who laid the foundation for the development of the Soviet methodology was Rozanov. His work Fundamentals of Teaching Wind Instruments Moscow 1935 was the first work put on a scientific basis. In his work, he formulated the principles that became the main ones in the methodical school on wind instruments:

1. The development of technical skills in students should go hand in hand with artistic development.

2. In the process of the student's work on a piece of music, it is necessary to achieve its conscious assimilation and then it will be stronger.

3. The basis of the correct setting should be the knowledge of the anatomy and physiology of the organs involved during the game.

The main questions of the methodology formulated by Rozanov were developed by professors Platonov, Usov, Pushechnikov, Dokshitser, G. Warwit.
The presence of a solid theoretical base allows us to raise the teaching of playing various musical instruments to a new qualitative level.

Psychophysiological foundations executive process on wind instruments.

Musical performance is an active creative process based on the complex psycho-physiological activity of a musician. You should know this wording as our father. Underline this wording directly. A player playing any instrument must coordinate the actions of a number of components: vision, hearing, memory, motor sense, musical aesthetic ideas, and volitional efforts. This is also very important point. It is this variety of psycho-physiological actions performed by the musician in the process of playing that determines the complexity of the musical performance technique. Way forward scientific substantiation of the musical-performing process was associated with the study of the physiology of the higher parts of the central nervous system. The teachings of the great Russian physiologist Academician I.P. Pavlov about higher nervous activity, about inseparable connection of all life processes, the doctrine of the cerebral cortex as the material basis of mental activity helped leading musicians to change the approach to the substantiation of performing technique. Educators and performers have become more deeply interested in how the brain works during play. They began to pay more attention to the conscious assimilation of goals and objectives. The basic principles of the work of the cerebral cortex - this is a coordinated human activity carried out through complex and subtle nervous processes continuously occurring in the cortical centers of the brain. These processes are based on the formation of a conditioned reflex. Higher nervous activity consists of two most important and physiologically equivalent processes:

1. excitation which underlies the formation of conditioned reflexes;

2. internal inhibition, which provides analysis of phenomena;

Both of these processes are in constant and complex interaction. Mutually influencing each other and ultimately regulate all human life.

The process of playing a musical instrument as one of the types labor activity person.

Do not forget that you work - this is your work. Studying at a music college is like work. This is a number of complex coordinated functions: (visual, auditory, motor, volitional) carried out on the basis of conditioned reflexes of the second signaling system of the brain. Let's try to imagine how this happens practically in the process of playing the instrument. When looking at musical signs, the performer first of all experiences irritation in the visual area of ​​the cortex (meaning the brain). As a result, the primary signals are instantly transformed into a visual representation of the musical text. Through thinking, the musician determines the position of the notes on the staff, the duration of the sounds, their volume, and so on. The visual perception of sound by the player is usually associated with auditory representations. The excitation of the visual centers spreading captures the auditory area of ​​the cortex, which helps the musician not only to see the sound, but also to hear, that is, to feel its height, volume, timbre, and the like. The auditory representations that have arisen inside immediately evoke in the musician the corresponding performing movements necessary to reproduce these sounds on the instrument. Motor impulses are transmitted to the performing apparatus: lips, tongue, breathing, finger movement, hearing. And due to internal inhibition, they cause the necessary movements: lips, tongue, fingers. This is how the propulsion system is carried out, as a result of which sound is born. Sound vibrations, in turn, cause irritation of the auditory nerve, which, due to the possibility of establishing feedback physiological connections, is transmitted to the auditory queue of the cortex and ensures the appropriate perception of the sounds performed, i.e. auditory analysis. Thus, the process of sound formation on wind instruments can be imagined as several interconnected links of a single chain. Musical sign - idea of ​​sound - musculoskeletal system - performing movement - real sounding - auditory analysis. In the course of this complex conditioned reflex relationship, the central place belongs to the auditory sensations and ideas of the player.

These are the psychophysiological foundations of sound extraction applied to playing any musical instrument, however, performance on wind instruments still has a number of specific features.

Acoustic bases of sound formation on wind instruments.

Unlike keyboard, bow and percussion instruments, where solid bodies act as a vibrator (for strings - strings, special plates, leather for percussion), all wind instruments belong to instruments withgaseous sounding body. The reason for the appearance of sound here is the fluctuations of the air column of air caused by the special actions of pathogens. The specifics of sound formation on wind instruments depends on the device of the instruments. Modern musical acoustics divides all wind instruments into three groups: the first group is labeal from the Latin word laba (lip) they are also called whistling (all types of pipes, flutes, some organ pipes), the second group is reed, reed or lingual from the Latin word lingia (language) (all types of clarinets, all types of oboes, bassoons, all types of saxophones and bass horns), the third group with a funnel-shaped mouthpiece, they are usually called brass (all types of cornets, trumpets, horns, trombones, tubas, horns, fanfares).

How is sound formed?
On the flute, which is an instrument with a gaseous exciter, the sound is formed as a result of the friction of the exhaled air stream against the sharp edge of the ladium hole located in the head of the flute. In this case, the speed of the air jet periodically changes, which causes the occurrence of sound vibrations in the flute channel. All reed instruments belonging to instruments with a solid exciter form sounds with the help of vibrations of special reed plates (reeds). The oscillatory process on these instruments is regulated by the actions of two interacting forces: the translational movement of the exhaled air stream and the elastic force of the cane. The exhaled air stream bends the thinned part of the cane to the outside, and the force of its elasticity causes the reed plate to return to its original position. These movements of the reed (reed) provide an intermittent jerky entry of air into the channel of the instrument, where a reciprocal oscillation of the air column occurs, therefore sound is born. Even greater originality is the appearance of sound on wind instruments with a funnel-shaped mouthpiece. Here, the central parts of the lips covered by the mouthpiece act as a solid oscillating sound exciter. As soon as the exhaled stream of air enters the narrow labial fissure, it immediately causes the lips to vibrate. These fluctuations, changing the size of the opening of the labial fissure, create a periodic jerky movement of air into the mouthpiece of the instrument. The result of this is the successive condensation or rarefaction of air in the channel of the instrument, which ensures the appearance of sound.

Having considered the acoustic foundations of sound formation, we find one common phenomenon: in all cases, the cause of sound formation is the periodic oscillation of the air column contained in the instrument caused by the specific movements of various devices and sound exciters. At the same time, oscillatory movements of the air jet, reed plates or lips are possible only if the various components of the performing apparatus are coordinated.

The development of musical abilities in the process of educating a professional musician.

Despite roughly equal mental capacity And physical development students we have different learning outcomes. The analysis of these phenomena indicates that in the preparation of the performer, the intuitive principle, that is, the presence of natural abilities, becomes decisive. V.M. Teplov in his work "Psychology of musical abilities" musical literature in 1947 proves the possibility of developing all musical abilities on the basis of innate inclinations. There can be no abilities that would not develop in the process of education and training. What do we mean when we talk about musical ability or musical inclinations? First of all, we mean musicality. This successful definition was made by Alekseev in his method of learning to play the piano. "A musical person should be called a person who feels the beauty and expressiveness of music, is able to perceive a certain artistic content in the sounds of a work, and if he is a performer, then reproduce this content." Musicality develops in the process of correct, well-thought-out work, during which the teacher clearly and comprehensively reveals the content of the studied works, illustrating his explanations with a display on an instrument or a recording. The complex of the concept of musicality includes a number of necessary components, namely:musical ear, musical memory, musical rhythmic feeling.

Ear for music- this is a complex phenomenon that includes such concepts as sound pitch (intonation), melodic (modal), harmonic, inner ear. Each of the named sides of musical ear has in training and in performing practice great importance. It is absolutely necessary for the performer to have a well-developed relative hearing, which makes it possible to distinguish the ratio of sounds in pitch taken simultaneously or sequentially. This quality is extremely important for an orchestral musician. In the orchestra, a performer is valued who listens well to his group, actively participates in it without disturbing the ensemble. The ability to hear imaginary sounds, write them down on paper and operate with them is called internal hearing. Musical ear develops in the course of a musician's activity. It is necessary to ensure that all work with the instrument proceeds with tireless monitoring of hearing. The disadvantage of students is that they do not control their instrument playing by ear. This is the main disadvantage independent work students. A teacher in the specialty must constantly take care of the development of all components of musical ear and, above all, internal melodic ear.

Development of inner ear.

In addition to solfeggio lessons and doing homework in this subject, a teacher in the specialty requires performance from memory of acquaintances previously or newly heard musical passages(selection by ear), transposition of familiar melodies into other keys, improvisation, as well as composing music if there is enough data for this. It is useful to teach students to analyze their own or other performance, critically evaluating them. That's why you have to go to concerts not only in your specialty: choir, chamber orchestra, wind, variety, ensembles, soloists, violinists. To develop a melodic ear, it is necessary to systematically work on a cantilena (slow piece). Cantilena (slow piece) also develops endurance because there is a big load on the lips, you take a lot of breath. Improving harmonic ear, it is useful to analyze the texture of the musical work being studied, to play more in an ensemble, in an orchestra. invoice latin word in figurative meaning device, building musical fabric. A well-developed ear for music is essential condition for the development of musical memory. musical memory this concept is synthetic, including auditory, visual, motor, logical. Musical memory also lends itself to development. It is important for a musician that at least three types of memory be developed: the first auditory, which serves as the basis for successful work in any field of musical art, the second is logical, connected with understanding the content of the work and the laws of development of musical thought, the third type is motor is extremely important for instrumental performers. For many, visual memory plays an important role in the memorization process. When working on the development of a student’s memory, one should remember: the system of memorizing music is very important, the student must take into account that music flows in time, creating a work as something whole is possible provided that its parts are kept in memory. As a result of frequent performance, memorization can be intentional. Memorization can also be intentional when individual passages are specifically memorized, and then the entire work as a whole. Here it is necessary to know the form of the work, its harmonic structure. When learning, it is important to be aware of the similarity, repetition of individual parts of the musical form, and attention is fixed on what distinguishes these parts and what unites them. Intentional memorization involves: visual, motor, as well as more complex internal auditory memory. Checking the correctness of the learned piece of music: recording the memorized music without using an instrument (notes), transposing the melody to a different key and the ability to start playing from anywhere. The ability to start performances from any place testifies to the performer's deep and thorough knowledge of the music of the work.

Expressive means when performing on wind instruments.

Usually to expressive means performers on wind instruments include the following concepts: sound, timbre, intonation, strokes, vibrato, rhythm, meter, tempo, agogy, articulation, phrasing, dynamics, nuance. Agogica is a slight deviation from the tempo. Vocalists and wind instruments performers refer here in the same way: performing breathing. Pianists include: pedal, touch. Touché is a specific way of performing. Stringers include: strokes, vibrato, fingering, finger technique. Performers on wind instruments also rank among these means: the technique of lips, tongue, double staccato, frulyato, glissando. Although the double staccato is a technique. And frulyato and glissando already belong to the strokes. All this suggests that there is no single clear and distinct approach to defining the concepts of performing means or expressive means. Performing means and expressive means are two sides of a single creative process. We rank as performing means everything that is connected with the technological side of performance. The technological side is the state of the instrument, mouthpiece, reed; setting the body, head, hands, embouchure; performing breathing technique, language technique (hard, soft, auxiliary attack); articulation is the pronunciation of vowels, consonants during the game; finger technique (fluency, clarity, consistency); knowledge of fingering (basic, auxiliary, additional). Expressive means include everything that is the artistic result of the use of the listed performing means. One of the most important performance tools is sound. The expressiveness of the sound as a means of the performing embodiment of the melody more fully determines the strength of the emotional impact of music. The player must master a beautiful sound, that is, make the sound of the instrument clear, juicy and dynamically diverse. At the same time, the nature of the sound must be inextricably linked with the content of the music being performed. For the expressiveness of the sound, the purity of intonation is of particular importance. The finer and better the musician's ear is developed, the less errors he will make when intoning during the game. Technical skill is an important performing tool. A wind instrument player's technical skills are made up of various elements: well-developed performance breathing, elasticity and mobility of the lips, mobility of the tongue, speed and coordination of finger movement. Each of the wind instruments has its own special concepts of the most complex elements of performing technique. For a group of woodwind instruments, the technique of finger movement is very complex. That for the copper group is the possession of the technique of lip work. Of exceptional importance is musical phrasing, which characterizes the ability of the player to correctly determine the structure of a musical work.(motives, phrases, sentences, periods), correctly establish and perform caesuras, identify and embody climaxes, correctly convey genre stylistic features of music. Musical phrasing, reflecting the living breath of musical thought, is a means of expressing the artistic content of a work. An important component of musical phrasing is dynamics. The skillful use of dynamic shades when playing significantly enlivens the musical performance, deprives it of monotony and monotony. When playing wind instruments, two types of dynamics are usually used: the first is stepped or terrat dynamics, which includes a gradual increase or decrease in sound(ppp, pp, mp, mf, f, ff) , the second type of dynamics is called contrast dynamics, which consists in a sharp opposition to the strength of sound (piano - sharp forte). It is important to note that dynamic shades are not absolute, but relative (for some it is forte, while for others it is mezzo forte), so the musician is given the right to supplement or expand these shades. A very significant element of musical phrasing is agogics - this is a little noticeable change in the speed of movement (deviation from the tempo). Agogic shades, skillfully applied, reveal the creative nature of musical performance. The most complex and difficult agogic nuance is the art of playing rubato (rhythmically free performance). Musical phrasing is closely related to the use of strokes. Strokes help enhance the expressiveness of the performance. A variety of performing tools can be divided into three main groups: the first means related to sound quality (timbre, intonation, vibration), the second group means technical order(finger fluency, breathing technique, language technique), the third group means general musical expression (musical phrasing, dynamics, agogics, strokes, fingering). Such a division is conditional, since there is a very close organic relationship between the performing means in music. However, an expressive sound serves as an indicator of a certain technical skill. Musical phrasing is the simultaneous possession of both sound and technical skills. characteristic feature of all performing means of a musician is not only their close relationship, but also their complete subordination artistic purposes, artistic tasks.

Leave your comment

To ask questions.