Lesson Objectives:
musical material lesson:
Ø We will sing many songs. Hungarian folk song(singing).
During the classes:
I. Organizational moment.
II. The topic of the lesson.
III. Work on the topic of the lesson.
w Conversation
"Life Rules for Musicians"
R. Schuman.
w Know:
On the work of the composer R. Schumann;
Rules for musicians;
Musical work by F. Tarrega. Memories of the Alhambra.
w Be able to:
Analyze a piece of music.
"Life rules for musicians" R. Schumann
The development of hearing is the most important thing. try with young years recognize tones and individual sounds. Bell, window glass, cuckoo - listen to what sounds they make.
Gradually get acquainted with all the most significant works of all significant masters.
· Look among your comrades for those who know more than you.
· With diligence and perseverance, you will always reach higher things.
· There is no end to learning.
¾ Read carefully R. Schumann's “Life Rules for Musicians”. Which of them do you consider the most important? Why?
Vocal and choral work.
Ø We will sing many songs. Hungarian folk song(singing).
Learn a song, perform with movement.
IV. Summary of the lesson.
We got acquainted with the rules of life for musicians.
V. Homework.
pp. 76-77 p/t.
Perform a song with a friend in canon form.
Recall and write down the names of famous canons.
Remember the name of repetition musical motive in a different voice.
Make notes in the workbook. Complete the task in the music diaries.
fourth quarter
Lesson 28
Theme: Strings bowed instruments
Lesson Objectives:
Ø To form the need for communication with music.
Ø Learn to perceive music as an important part of human life.
Ø Formation of emotional responsiveness, love for the world around.
Ø Learn to see the relationship between music and other arts.
Ø Teaching the basics of musical literacy.
Music material of the lesson:
Ø ON THE. Rimsky-Korsakov.
Ø A. Dvorak. Melody (listening).
Ø E. Doga.
Ø Violin (singing).
Additional material:
During the classes:
I. Organizational moment.
II. The topic of the lesson.
Lesson topic: Bowed string instruments
Board writing:
| BOWED STRING INSTRUMENTS VIOLIN*VIOLO*CELLO*DOUBLE BASS |
III. Work on the topic of the lesson.
w Conversation
"The Expressive Possibilities of the Violin, Viola, Cello and Double Bass".
w Know:
Bowed string instruments - violin, viola, cello, double bass, what do these instruments have in common and how do they differ from each other;
A virtuoso technique is a complex technique;
Ensemble - French for "together"
w Be able to:
Listen carefully to the music, answer the teacher's questions, join in search activity;
Analyze a piece of music (Why did N. Rimsky-Korsakov choose the timbre of a violin to convey the flight of a bumblebee? Could this fragment be performed on a double bass?
Why do you think A. Dvorak gave the play the name "Melody"? How does the cello sound in this piece? What feelings does the sound of the string ensemble express in E. Doga's "waltz"?).
bowed (string-bowed) musical instruments - band musical instruments with sound extraction, carried out mainly in the process of conducting the bow along stretched strings. Exists a large number of folk bowed instruments. Modern academic music-making uses four bowed string instruments: violin, viola, cello and double bass.
The group of bowed instruments is considered the basis symphony orchestra and is divided into five parts:
1. The first violins
2. Second violins
4. Cellos
5. Double basses.
Range throughout bow group covers almost seven octaves from up to the counteroctave up to the fifth octave.
Bowed strings were formed and improved in about late XVII century, only the bow in its modern form appeared to late XVIII century. Despite the timbre differences between the individual instruments of the group, in the mass they sound uniform. This is due to the unity of the design and general principle sound extraction.
The source of sound for all instruments is strings, the sound is produced by a bow ( arco) or fingers ( pizzicato)
Violin(ital. violino, fr. violon, German Violine or Geige) is a bowed stringed musical instrument of a high register. It has folk origin, modern look acquired in the 16th century, became widespread in the 17th century. Has four strings tuned in fifths: g, d 1 ,a 1 ,e²(salt of a small octave, re, la of the first octave, mi of the second octave), range from g(salt of a small octave) to a 4(A fourth octave) and higher. The timbre of the violin is thick in the low register, soft in the middle and brilliant in the high.
Alto(English and Italian) viola, fr. alto, German Bratsche) or viola violin- a bowed stringed musical instrument of the same device as the violin, but somewhat larger, which makes it sound in a lower register. The viola strings are tuned a fifth below the violin and an octave above the cello - c, g, d 1 ,a 1(do, salt of a small octave, re, la of the first octave). The most common range is from c(up to a small octave) up to e 3 (mi of the third octave), in solo works it is possible to use more high sounds. Notes are written in alto and treble clefs.
Cello(ital. violoncello, abbr. cello, German Violoncello, fr. violoncelle, English cello) - a bowed stringed musical instrument of the bass and tenor register, known from the first half of the 16th century, of the same structure as the violin or viola, but much larger. The cello has wide expressive possibilities and carefully developed performance technique, it is used as a solo, ensemble and orchestral instrument.
double bass(ital. contrabasso or basso, fr. contrebasse, German Kontrabass, English double bass) - the largest in size (about two meters in height) and the lowest in sound of the widely used bowed stringed musical instruments, combining the features of the violin family and the viol family. It has four strings tuned in fourths: E 1, A 1, D, G (mi, la counteroctave, re, salt of the large octave), range from E 1 (mi counteroctave) to g 1 (salt of the first octave) and higher.
¾ What do these tools have in common? How do they differ from each other?
¾ ON THE. Rimsky-Korsakov. Flight of the Bumblebee. From the opera "The Tale of Tsar Saltan" (listening).
¾ Why Roman - Korsakov chose the timbre to convey the flight of a bumblebee? Would it be possible to perform this fragment on the double bass?
¾ A. Dvorak. Melody (listening).
¾ Why did A. Dvorak give the play the name "Melody"? How does the cello sound in this piece?
¾ E. Doga. Waltz. From the movie "My Sweet and Gentle Beast" (listening).
¾ What feelings does the sound of the string ensemble express in E. Doga's "Waltz"?
Vocal and choral work.
Ø R. Boyko, lyrics by I. Mikhailova. Violin (singing). Learn a song, perform at a moderate pace, with enthusiasm.
IV. Summary of the lesson.
Today we talked about bowed string instruments, about the beauty of their sound in musical works.
V. Homework.
pp.78-79 p/t.
Compare the melodies of the songs "Musician" and "Violin". What unites them and what is their difference?
Write titles musical works in which stringed bowed instruments play an important role.
Circle the group with colored pencil string instruments. Write the names of these instruments.
Make notes in a workbook.
Editorial. It is hardly worth writing an extensive introduction to this publication - there is simply nothing to add to what Schumann said. It is a pity that these aphorisms of the great German composer have not been republished in Russia for a very long time - in fact, several generations of musicians have already grown up, most of them not familiar with them. Which is very sad, since this work is able to open your eyes to a lot that is hidden from the eyes of beginners and which, at times, is forgotten. modern educators. In addition, we are sure that the "Rules" will be of interest to a wide range lovers of academic music, because, in addition to purely professional problems, they raise questions that concern very many.
Robert Schumann
Life rules for musicians
(1850)
Translation from German by A.G. Gabrichevsky and L.S. Tovaleva
Hearing development is the most important thing. Try to recognize tonalities and individual sounds from a young age. Bell, window glass, cuckoo - listen to what sounds they make.
Play scales and other finger exercises diligently. But there are many people who believe that this is all that is achieved, who, until old age, spend many hours daily on technical exercises. This is approximately the same as saying the alphabet every day and trying to do it faster and faster. Make better use of your time.
Invented the so-called "silent keyboard"; try to play with it a little to make sure it is completely unusable. The mute cannot be taught to speak.
Play rhythmically! The game of some virtuosos is like the walk of a drunk. Don't follow their example! Learn as early as possible the basic laws of harmony.
Do not be afraid of words: theory, general bass, counterpoint, etc.; they will welcome you kindly if you do the same.
Never strum! Always play a piece cheerfully to the end and never quit halfway through.
Pull and hurry - the same big mistakes.
Try to play easy pieces well and beautifully; it's better than mediocre playing difficult ones.
Always take care to keep the tuning of your instrument clean.
It is necessary that not only the fingers master the piece, you must also be able to hum it to yourself without an instrument. Sharpen your imagination so that you can retain in your memory not only the melody, but also the harmony related to it.
Try even if you don't big voice, sing from a sheet without the help of an instrument; the subtlety of your hearing will increase all the time from this. If you have a good voice, do not hesitate a minute and develop it; consider it as the most beautiful gift heaven has given you.
You have to develop yourself enough to understand music by reading it with your eyes.
When you play, don't worry about who is listening to you.
Always play as if the master is listening to you.
If you are offered to play an unfamiliar composition from a sheet, then first run through it with your eyes.
If you have completed your daily musical work and feel tired, do not force yourself any more. It is better to rest than to work without hunting and cheerfulness.
When you're older, don't play anything fancy. Time is precious. Gotta have a hundred human lives to get acquainted only with all the good things that exist in the world.
On sweets, cookies and sweets from a child will never grow up healthy person. Spiritual food, just like bodily food, should be simple and healthy. The great masters have taken sufficient care of such food; and stick with it.
All the rubbish of the passages has a transitory meaning; technology has value only where it serves higher goals.
You must not distribute bad writings; on the contrary, you must prevent their distribution by all means.
You must neither play bad compositions nor listen to them, unless you are forced to do so. Never seek salvation in technology, in so-called bravura. Try to make the music make the impression that the author had in mind; no more is needed; anything beyond that is a distortion. Consider it a disgrace to change anything in the compositions good composers, skip or, what's good, add newfangled decorations to them. This is the greatest insult you can inflict on art.
When choosing pieces to work with, consult your elders; you will save yourself a lot of time. Gradually get acquainted with all the most significant works of all significant masters.
Don't be fooled by the success that so-called great virtuosos often win. Let the approval of artists be more valuable to you than the recognition of a whole crowd.
Everything fashionable becomes unfashionable with time, and if you continue to be fashionable until old age, you will turn out to be a veil, which no one respects.
Frequent play in society does more harm than good. Look closely at people, but never play what you should be internally ashamed of.
But never miss the opportunity to play together in duets, trios, etc. This will give your game freedom and liveliness. Accompany singers more often.
If everyone wanted to play first violin, it would be impossible to form an orchestra. Respect therefore every musician in his place.
Love your instrument, but in your vanity do not regard it as the highest and only. Remember that there are others just as beautiful. Remember also the existence of singers; do not forget that the highest in music finds its expression in the choir and orchestra.
When you grow up, communicate more with scores than with virtuosos.
Play hard fugues great masters, especially Yog. Seb. Bach. The Well-Tempered Clavier should be your daily bread. Then you will definitely become a solid musician.
Look among your comrades for those who know more than you.
Take a break from your music lessons diligently reading poets. Be more often in the bosom of nature.
You can learn a lot from singers and singers, but do not trust them in everything.
People also live behind the mountains. Be humble! You have not yet invented or invented anything that others have not invented or invented before you. And if you succeeded, then consider it as a gift from above, which you must share with others.
Studying the history of music, supported by live listening to exemplary works from various eras, will most likely cure you of self-conceit and vanity.
If you pass by a church and hear the organ being played, come in and listen. If you are fortunate enough to sit on the organ bench yourself, then test your little fingers and marvel at this omnipotence of music.
Do not miss the opportunity to practice on the organ; there is no instrument that would just as quickly avenge slovenliness and dirt in composition and performance.
But what does it mean to be musical? You are unmusical if, timidly staring at the notes, you hardly finish playing your piece; you are unmusical if, in the event that someone accidentally turns two pages to you at once, you stop and cannot continue. But you are musical, if in new play you roughly guess what will happen next, but in a friend you already know it by heart - in a word, when you have music not only in your fingers, but also in your head and heart.
But how to become musical“Dear child, the main thing is acute hearing, quick susceptibility is given, like everything else, from above. But abilities can be developed and improved. You will not become musical if, secluded as a hermit, you practice technical exercises all day long; you will get closer to the goal if you maintain a lively, many-sided communication with the musicians and, in particular, if you constantly deal with the choir and with the orchestra.
Understand the scope as early as possible human voice in its main four modes; especially listen to the voices in the choir; find out in which registers they have the greatest strength, in which expressions of softness and tenderness are available to them.
Listen attentively to all folk songs; this is a whole treasure trove of the most beautiful melodies, they will open your eyes to character various peoples.
Practice with early age in reading old keys. Otherwise, many treasures of the past will remain inaccessible to you.
Notice as early as possible the sound and character of the various instruments, try to capture in your ear their peculiar sound coloring.
Never miss a chance to listen to a good opera.
Highly honor the old, but also meet the new with an open, warm heart. Don't be prejudiced against names you don't know.
Don't judge an essay by listening to it once; what you like in the first moment is not always the best. Masters require study. Much will become clear to you only in extreme old age.
In judgments about music, distinguish whether a work belongs to the realm of professional art or is created only for amateurish entertainment; defend the first, do not be angry about others!
"Melody" is the battle cry of dilettantes. Indeed, music without melody is not music. Understand, however, what they mean: they recognize only a melody that is easily perceived, rhythmically attractive. But there are others, of a different sort; and wherever you reveal Bach, Mozart, Beethoven, a thousand melodies look at you various kinds; but the wretched monotony, especially typical of the new Italian operatic melodies, will hopefully soon bore you.
If you pick up small melodies on the piano, this is, of course, very nice, but if they appear on their own, and not behind the instrument, then rejoice even more - it means that your inner musical consciousness is awakening in you. The fingers should do what the head wants, but not vice versa.
Starting to compose, do everything mentally. Only when the piece is completely ready, try to play it. If your music poured out of the soul, if you felt it, it will also affect others.
If the sky has endowed you with a living fantasy, then in the hours of solitude you will, as if enchanted, sit at the instrument, trying to pour out your inner harmony in harmonies. I; and the more mysterious you will feel, as it were, drawn into a magic circle, the less clear the realm of harmony will be for you even at this time. These are the most happy hours youth. Beware, however, of giving in too often to the attraction of a talent that tempts you to waste your time and energy on creating, as it were, ghostly images. Mastery of the form, the power of a clear embodiment will come to you only together with musical signs. So, write more than fantasize.
Get familiar with conducting as early as possible. Watch good conductors more often; together with them you can slowly conduct. This will bring you clarity.
Carefully observe life, and also get acquainted with other arts and sciences.
The laws of morality are the same as the laws of art.
With effort and perseverance, you will always achieve something higher.
A pound of metal worth a penny can be made into thousands of clock springs, the value of which will increase hundreds of times. The pound you received from God, use it conscientiously.
Nothing real is created in art without enthusiasm.
Art is not meant to make you rich. Become a bigger and bigger artist, the rest will come by itself.
Only when the form becomes completely clear to you, will the content become clear to you (der Geist)
Perhaps only a genius understands a genius to the end.
Someone argued that a complete musician should be able to imagine even a complex orchestral work heard for the first time in the form of a score. This is the highest thing you can think of.
Learning has no end.
Additions to the "Life Rules"
Let's give each era what it deserves! The new time also has brilliant achievements.
At all times there have been bad composers and fools who praised them.
If you have to play in front of someone, don't break down; do it right away or don't do it right away.
You must love not only one masters. There were many.
Don't think that old music outdated. Like a beautiful truthful word, beautiful truthful music can never become obsolete.
Imagine the whole play as if it were before your eyes.
Aphorisms
You have to invent new, bold melodies.
"I liked it" or "I didn't like it," people say. As if there is nothing higher than to please people!
To shed light into the depths of the human heart - such is the vocation of the artist!
No one can Furthermore what he knows. Nobody knows more than what he can.
One who does not know the most significant phenomena in literature is considered uneducated. In music we should have reached the same position.
Don't amateurs try to do away with what artists have been pondering for days, months and years in an instant?
* thibault Anton Friedrich - German scholar, professor of law at the University of Heidelberg, amateur and connoisseur classical music. The mentioned book "Uber Reinheit der Tonkunst" is devoted to questions of musical aesthetics.
Organization: MBUDO "DSHI Vsevolozhsk district"
Locality: Leningrad region, pos. them. Morozova
A collection of pedagogical aphorisms entitled "Musikalische Haus- und Lebensregeln" is the most popular of literary works Robert Schumann. "Life Rules for Musicians", a work written in last period his life. The main content of the "rules" are many of Schumann's favorite thoughts, addressed in this case to young musicians. Initially, the author planned to place these notes between the individual plays of his piano cycle- "Album for youth" (1848, op. 68). Abandoning this idea, Schumann continued to work on aphorisms and published them separately - in special application to the "New music magazine» (1850, No. 36). In Russian, the "Rules" were first published in 1857 by V. Stasov (magazine "Musical and Theater Bulletin" 1857, No. 49). Since 1869, they have been published several times in translation by P.I. Tchaikovsky, and in 1956 the Rules appeared in a new revised translation on the pages of the first Russian edition of Schumann's Selected Articles on Music. The same translation is also reproduced in the edition that appeared in Russia in ... year. "The laws of morality are the same as the laws of art" - in this shortest aphorism(60) contains the main idea of many judgments and evaluations of Schumann. In his opinion, genuine art“turned to the truth of life, embodying moral strength, serves great purposes” (14, p. 30). The author of the "Rules" strives to instill in young musicians a love of art classical masters. Aphorisms touching on this topic (26, 34, 48, 51, 52, 54) not only come into contact with the ideas of a number of Schumann's articles, but also reflect the composer's life experience. For example, his advice on studying the work of J.S. Bach: “Bach was fully human; there was nothing half-hearted, unhealthy in it, everything was written as if for eternity”, “Bach is my daily bread” (14, p. 31). In the “Rules” Schumann repeatedly calls for the musician to carefully observe life to be at the level of contemporary spiritual culture (science and art), to love and know folk song, communicate with nature, listen to the sounds of nature (see aphorisms 1, 36, 47, 53). Also, a significant place in the "Rules" is given to the problem professional excellence musician, are affected difficult questions about the role of intuition and consciousness in the work of a young composer. Schumann highly appreciates the gift of imagination, the power of immediate feeling in creative process. It is necessary to devote more time to recording than to improvisation, since the mastery of the form, the "power of embodiment" come only "together with musical signs." The rules indicate, if not all, then many essential conditions creative growth. For example, the composer considers it absolutely necessary to master harmony and polyphony, study the history of music, supported by listening to exemplary works of the past (5, 6.18, 26, 34, 39, 48, 50). Schumann pays special attention to the development of hearing and, in particular, the inner ear of a musician. In one of his letters, he advises the young composer: “Get used to freely imagine music mentally, without the help of an instrument, only in this way will inner sources be opened, more and more clarity and purity will appear. Write down a little of it. The most important thing is what the musician felt with his inner ear” (14, p. 36) (see aphorisms 11-13, 55, 56). "Become a better artist, the rest will come by itself" (64). And it is no coincidence that Schumann ends his "Rules" with the statement "Teaching has no end." We are talking about "teaching" in the broadest sense of the word, the tasks of knowing the truths of life, the impact on life - are inexhaustible, therefore, the possibility and necessity of improving art - its techniques, methods are unlimited. In the preface to the first Russian publication of the "Rules", V. Stasov noted that at first glance they are addressed to youth, but in reality "belong to an incomparably vast circle." Schumann's aphorisms really go beyond the narrow confines of everyday pedagogical advice. More precisely, they are based on such an understanding of artistic pedagogy, which is the promotion of ideas and questions in relation to the tasks of education. That is why, as a musician matures, Schumann's pedagogical advice does not become obsolete for him, but more and more deeply reveals its meaning and vitality. In the preface, V. Stasov wrote: “once you know and love this little musical code, you will never forget it and stop loving it” (14, p. 40).
These words are still relevant today. And there is no doubt that the "Life Rules for Musicians" will find its noble readers and connoisseurs again and again.
Robert Schumann "Life Rules for Musicians"
1. The development of hearing is the most important thing. Try to recognize tonalities and individual sounds from a young age. Bell, window glass, cuckoo - listen to what sounds they make.
2. Play scales and other finger exercises diligently. But there are many people who believe that this is all that is achieved, who, until old age, spend many hours daily on technical exercises. This is approximately the same as saying the alphabet every day and trying to do it faster and faster. Make better use of your time.
3. Invented the so-called "silent keyboard"; try to play a little on it to make sure it is completely unusable. You can't learn to play from dumb people.
4. Play rhythmically! The game of some virtuosos is like the walk of a drunk. Don't follow their example!
5. Learn as early as possible the basic laws of harmony
6. Do not be afraid of words: theory, general bass, counterpoint, etc.; they will welcome you kindly if you do the same.
7. Never strum on an instrument! Always play the piece with a fresh feeling to the end and never give up halfway through.
8. Pulling and rushing is equally a big disadvantage.
9. Try to play easy pieces well and beautifully; it is better than mediocre performance of difficult ones.
10. Always take care of the purity of the tuning of your instrument.
11. It is necessary that not only fingers master the piece, you must be able to hum it to yourself without an instrument. Sharpen your imagination to such an extent that you can retain in your memory not only the melody, but also the harmony related to it.
12. Try, even if you have a small voice, to sing from a sheet without the help of an instrument; the subtlety of your hearing will increase all the time from this. If you have a good voice, do not hesitate a minute and develop it; consider it as the most beautiful gift heaven has given you.
13. You must develop yourself enough to understand music by reading it with your eyes.
14. When you play, do not worry about who is listening to you.
15. Always play as if the master is listening to you.
16. If you are offered to play an unfamiliar composition from a sheet, then first run through it with your eyes.
17. If you have completed your daily musical work and feel tired, do not force yourself anymore. It is better to rest than to work without hunting and cheerfulness.
18. When you're older, don't play anything trendy. Time is precious. It takes a hundred human lives to get to know all the good things that exist in the world.
19. On sweets, cookies and sweets, a healthy person will never grow up from a child. Spiritual food, just like bodily food, should be simple and healthy. The great masters have taken sufficient care of such food; and stick with it.
20. All the rubbish of the passages is transitory; technology has value only where it serves a higher purpose.
21. You must not distribute bad compositions: on the contrary, you must prevent their distribution by all means.
22. You must neither play bad compositions nor listen to them, unless you are forced to do so.
23. Never seek salvation in technology, in the so-called bravura. Try to make the music make the impression that the author had in mind; no more is needed; anything beyond that is distortion.
24. Consider it a disgrace to change anything in the works of good composers, skip or, what's good, add newfangled embellishments to them. This is the greatest insult you can inflict on art.
25. When choosing pieces for work, consult with your elders; you will save yourself a lot of time.
26. Gradually get acquainted with all the most significant works of all significant masters.
27. Do not be deceived by the success that so-called great virtuosos often win. Let the approval of the artists be more valuable to you than the whole crowd. Everything fashionable becomes unfashionable over time, and if you continue to be fashionable until old age, you will turn out to be a veil, which no one respects.
28. Everything fashionable becomes unfashionable over time, and if you become fashionable until old age, you will turn out to be a veil, which no one respects.
29. Frequent social play does more harm than good. Look closely at people, but never play what you should be internally ashamed of.
30. Never miss an opportunity to play together in duets, trios, etc. This will give your game freedom and liveliness. Accompany singers more often.
31. If everyone wanted to play the first violin, it would be impossible to make an orchestra. Respect therefore every musician in his place.
32. Love your instrument, but in your vanity do not consider it the highest and only. Remember that there are others just as beautiful. Remember also the existence of singers; do not forget that the highest in music finds its expression in the choir and orchestra.
33. When you grow up, communicate more with scores than with virtuosos.
34. Play diligently the fugues of great masters, especially Johann Sebastian Bach. The Well-Tempered Clavier should be your daily bread. Then you will certainly become a solid musician.
35. Look among your comrades for those who know more than you.
36. Rest from your musical studies by reading poets. Be in the bosom of nature more often!
37. You can learn something from singers and singers, but do not trust them in everything.
39. Studying the history of music, supported by listening to exemplary works of various eras, will most quickly cure you of arrogance and vanity.
40. Good book about the music "Uber Reinheitder Toukunst" ("About purity musical art"") Thibaut. Read it more often when you get older.
41. If you happen to pass by a church where an organ is playing. Come in and listen. If you are fortunate enough to sit on the organ bench yourself, then test your little fingers and marvel at this omnipotence of music.
42. Do not miss the opportunity to practice on the organ; there is not a single instrument that would take revenge for slovenliness and dirt in composition and performance as quickly as the organ.
43. Sing diligently in the choir, especially the middle voices. This will develop your musicality.
44. But what does it mean to be musical? You are not musical if, timidly staring at the notes with an effort, you play your piece to the end; you are not musical if, in the event that someone accidentally turns two pages at once to you, you stop and cannot continue. But you are musical if in a new piece you roughly feel what should be next, but in a familiar work you know it on memory, word when music is not only in your fingers, but also in your head and heart.
45. But how can one become musical? Dear child, the main thing - sharp hearing, quick perception - is given, like everything else, from above. But abilities can be developed and improved. You will not achieve this if, in secluded seclusion, you play mechanical exercises all day long; a living, multifaceted musical communication: especially important to deal with the choir and orchestra.
46. Understand early the volume of the human voice in his main four types; listen to voices, especially in the choir; explore in which registers they have the greatest strength, in which expressions of softness and tenderness are available to them.
47. Listen carefully to everyone folk songs; it is a treasure trove of the most beautiful melodies; they will open your eyes to the character of the various peoples.
48. Practice reading old keys from an early age. Otherwise, many treasures of the past will remain inaccessible to you.
49. Begin early to pay attention to the sound and character of various instruments; try to imprint well in your auditory memory their peculiar sound coloring.
50. Never miss a chance to listen good opera.
51. Highly honor the old, but go with open heart also towards the new. Don't be prejudiced against names you don't know.
52. Don't judge a work by its first impression; what you like in the first moment is not always the best. Masters require study. Much will become clear to you only in your mature years.
53. In judgments about music, distinguish whether a work belongs to the field of art or serves only for the purposes of amateur entertainment; defend the first, do not be angry about others!
54. "Melody" is the battle cry of amateurs, and indeed, music without melody is not music. Understand, however, what they mean by this; they recognize only a melody that is easily perceived, with an outwardly attractive rhythm. But there are many others , of a different kind, and wherever you uncover Bach, Mozart, Beethoven, you will see a thousand different melodic species; the pitiful monotony, especially typical of new Italian operatic melodies, one hopes, will soon bore you.
55. If you pick up small melodies on the piano, this is very nice, but if they appear on their own, not behind the instrument, then rejoice even more - it means that your inner musical consciousness awakens. The fingers should do what the head wants, but not vice versa.
56. Starting to compose, do everything mentally. Only when the thing is completely ready, try to play it on the instrument. If your music poured out of the soul, if you felt it, it will also affect others.
57. If the sky has endowed you with a lively fantasy, then during the hours of solitude you will often sit as if chained at an instrument, trying to pour out your inner self in harmony; and the more mysteriously you will feel involved, as it were, in magic circle the less clear the kingdom of harmony will be for you even at this time. These are the happiest hours of youth. Beware, however, of giving in too often to the lure of a talent that induces you to waste time and energy in creating, as it were, ghostly images. Mastery of the form, the power of a clear embodiment will come to you only together with musical signs. Give therefore more time to recording than to improvisation.
58. Get to know conducting as early as possible. Watch good conductors more often; together with them you can quietly conduct yourself. This will bring you clarity.
59. Carefully observe life, and also get acquainted with other arts and sciences.
60. The laws of morality are the same as the laws of art.
61. By diligence and perseverance you will always reach higher things.
62. From a pound of metal, worth a pittance, you can make thousands of watch springs, which are highly valued. "Pound", given to you from above, use as conscientiously as possible.
63. Nothing real is created in art without enthusiasm.
64. Art is not meant to make you rich. Become more and more perfect artist, the rest will come by itself.
65. Only when the form becomes clear to you will the content be clear to you.
66. Perhaps only a genius understands a genius to the end.
67. Someone suggested that a complete musician should be able to imagine an orchestral work heard for the first time in the form of a score. This is the highest you can think of.
68. Learning has no end.
ADDITIONAL APHORISMS
1. We will reward each era according to its deserts! The new time also has brilliant achievements.
2. At all times there were bad composers and fools who praised them.
3. If you have to play in front of someone, don't break down; do it right away or don't do it right away.
4. You must love not only one master. There were many.
Don't think old music is outdated. Like a beautiful truthful word, beautiful truthful music can never become obsolete. Imagine your play as if it were in front of your eyes.
Bibliography:
- Ambros, A.V. Robert Schumann. Life and work / Per. with him. A.N. Serov. Comment. Vl. Protopopova.- M.: Music, 1988. - 62s.
- Galatsky V.S. Great German composer Robert Schumann /Ed. E. N. Konyukhova. – M.: Knowledge, 1956.
- Grohotov S. Schumann and environs. Romantic walks through the "Album for Youth" - M .: Publishing House "Classics-21", 2006. - 240 p., ill.
- Egorov, P. Robert Schumann: On the 200th anniversary of his birth (1810-1856). - St. Petersburg. : Composer St. Petersburg, 2010. - 24 p.
- Zhitomirsky D.V. Robert and Clara Schumann in Russia / Ed. E. Sazonova. - M. : Moscow, 1962.
- Zhitomirsky D.V. Robert Schumann. Essays from life and creativity. - M .: Moscow State Conservatory. P.I. Tchaikovsky, Composer Publishing House, 2000. - 376 p.
- Krokhmal M.P. Robert Schumann / Ed. A. Ostretsov. - M. : MUZGIZ 1937.
- Losev O.V. Memories of Robert Schumann / Ed. BUT. Vlasov. - M .: Composer Publishing House, 2000.
- Popova N.V. Symphonic studies and Schumann's "Carnival" / Ed. T. Sokolova. - M. : Moscow, 1957.
- Schumann R. About music and musicians. Collection of articles in two volumes. T. 1. / Ed. D. Frishman. - M .: Music, 1975.
- Schumann R. Letters. T. 1. / Ed. V. Egorova. - M .: Music, 1970.
- Schumann R. Letters. T. 2./ Ed. V. Erokhin and I. Uvarova. - M .: Music, 1982.
- Schumann R. Selected articles about music / Ed. T. Lebedeva. - M.: Moscow, 1956.
- Schumann R. Life rules for musicians / Ed. O. Sokolova. – M.: Moscow, 1959.
Robert Schuman Vital rules For musicians(1850) Translated from German by A.G. Gabrichevsky and L.S. Tovaleva The development of hearing is the most important thing. Try to recognize tonalities and individual sounds from a young age. Bell, window glass, cuckoo - listen to what sounds they make. Play Hard Scales and Other Exercises For fingers. But there are many people who believe that this is all that is achieved, who, until old age, spend many hours daily on technical exercises. This is approximately the same as saying the alphabet every day and trying to do it faster and faster. Make better use of your time. Invented the so-called "silent keyboard"; try to play with it a little to make sure it is completely unusable. The mute cannot be taught to speak. Play rhythmically! The game of some virtuosos is like the walk of a drunk. Don't follow their example! Learn as early as possible the basic laws of harmony. Do not be afraid of words: theory, general bass, counterpoint, etc.; they will welcome you kindly if you do the same. Never strum! Always play a piece cheerfully to the end and never quit halfway through. Pulling and rushing are equally big mistakes. Try to play easy pieces well and beautifully; it's better than mediocre playing difficult ones. Always take care to keep the tuning of your instrument clean. It is necessary that not only the fingers master the piece, you must also be able to hum it to yourself without an instrument. Sharpen your imagination so that you can retain in your memory not only the melody, but also the harmony related to it. Try, even if you do not have a great voice, to sing from a sheet without the help of an instrument; the subtlety of your hearing will increase all the time from this. If you have a good voice, do not hesitate a minute and develop it; consider it as the most beautiful gift heaven has given you. You have to develop yourself enough to understand music by reading it with your eyes. When you play, don't worry about who is listening to you. Always play as if the master is listening to you. If you are offered to play an unfamiliar composition from a sheet, then first run through it with your eyes. If you have completed your daily musical work and feel tired, do not force yourself any more. It is better to rest than to work without hunting and cheerfulness. When you're older, don't play anything fancy. Time is precious. You need to have a hundred human lives to get acquainted only with all the good things that exist in the world. On sweets, cookies and sweets, a child will never grow up a healthy person. Spiritual food, just like bodily food, should be simple and healthy. The great masters have taken sufficient care of such food; and stick with it. All the rubbish of the passages has a transitory meaning; technology has value only where it serves a higher purpose. You must not distribute bad writings; on the contrary, you must prevent their distribution by all means. You must neither play bad compositions nor listen to them, unless you are forced to do so. Never seek salvation in technology, in so-called bravura. Try to make the music make the impression that the author had in mind; no more is needed; anything beyond that is a distortion. Consider it a disgrace to change anything in the works of good composers, to omit or, what's good, to add newfangled embellishments to them. This is the greatest insult you can inflict on art. Choosing plays For work, consult with elders; you will save yourself a lot of time. Gradually get acquainted with all the most significant works of all significant masters. Don't be fooled by the success that so-called great virtuosos often win. Approval of artists let it be For you are more valuable than the recognition of a whole crowd. Everything fashionable becomes unfashionable with time, and if you continue to be fashionable until old age, you will turn out to be a veil, which no one respects. Frequent social play does more harm than good. Look closely at people, but never play what you should be internally ashamed of. But never miss the opportunity to play together in duets, trios, etc. This will give your game freedom and liveliness. Accompany singers more often. If everyone wanted to play first violin, it would be impossible to form an orchestra. Respect therefore every musician in his place. Love your instrument, but in your vanity do not regard it as the highest and only. Remember that there are others just as beautiful. Remember also the existence of singers; do not forget that the highest in music finds its expression in the choir and orchestra. When you grow up, communicate more with scores than with virtuosos. Play diligently the fugues of great masters, especially Jog. Seb. Bach. The Well-Tempered Clavier should be your daily bread. Then you will definitely become a solid musician. Look among your comrades for those who know more than you. Rest from your musical studies by diligently reading poets. Be more often in the bosom of nature. You can learn a lot from singers and singers, but do not trust them in everything. People also live behind the mountains. Be humble! You have not yet invented or invented anything that others have not invented or invented before you. And if you succeeded, then consider it as a gift from above, which you must share with others. Studying the history of music, supported by live listening to exemplary works from various eras, will most likely cure you of self-conceit and vanity. An excellent book about music is Thibaut's "On the Purity of Musical Art". Read it often when you're older.* If you pass by a church and hear the organ being played, come in and listen. If you are fortunate enough to sit on the organ bench yourself, then test your little fingers and marvel at this omnipotence of music. Do not miss the opportunity to practice on the organ; there is no instrument that would so quickly avenge slovenliness and dirt in composition and performance. Sing diligently in the choir, especially the middle voices. This will develop your musicality. But what does it mean to be musical? You are unmusical if, timidly staring at the notes, you hardly finish playing your piece; you are unmusical if, in the event that someone accidentally turns two pages to you at once, you stop and cannot continue. But you are musical, if in a new play you roughly guess what will happen next, but in a familiar one you already know it by heart - in a word, when you have music not only in your fingers, but also in your head and heart. But how to become musical? Dear child, the main thing is a sharp ear, a quick susceptibility is given, like everything else, from above. But abilities can be developed and improved. You will not become musical if, secluded as a hermit, you practice technical exercises all day long; you will get closer to the goal if you maintain a lively, many-sided communication with the musicians and, in particular, if you constantly deal with the choir and with the orchestra. Clarify to yourself as early as possible the volume of the human voice in its main four modes; especially listen to the voices in the choir; find out in which registers they have the greatest strength, in which expressions of softness and tenderness are available to them. Listen attentively to all folk songs; this is a whole treasure trove of the most beautiful melodies, they will open your eyes to the character of various peoples. Practice reading old keys from an early age. Otherwise For many treasures of the past will remain inaccessible to you. Notice as early as possible the sound and character of the various instruments, try to capture in your ear their peculiar sound coloring. Never miss a chance to listen to a good opera. Highly honor the old, but also meet the new with an open, warm heart. Don't be prejudiced against names you don't know. Don't judge an essay by listening to it once; what you like in the first moment is not always the best. Masters require study. Much will become clear to you only in extreme old age. In judgments about music, distinguish whether a work belongs to a region professional art or just created For amateur entertainment; defend the first, do not be angry about others! "Melody" is the battle cry of dilettantes. Indeed, music without melody is not music. Understand, however, what they mean: they recognize only a melody that is easily perceived, rhythmically attractive. But there are others, of a different sort; and wherever you reveal Bach, Mozart, Beethoven, a thousand melodies of various kinds look at you; wretched monotony, especially typical For new Italian opera tunes, you will hopefully get bored soon. If you pick up small melodies on the piano, this is, of course, very nice, but if they appear on their own, and not behind the instrument, then rejoice even more - it means that your inner musical consciousness is awakening in you. The fingers should do what the head wants, but not vice versa. Starting to compose, do everything mentally. Only when the piece is completely ready, try to play it. If your music poured out of the soul, if you felt it, it will also affect others. If the sky has endowed you with a living fantasy, then in the hours of solitude you will sit, as if enchanted, at the instrument, trying to pour out your inner self in harmonies; and the more mysterious you will feel, as it were, involved in a magic circle, the less clear it will be For you still at this time the kingdom of harmony. These are the happiest hours of youth. Beware, however, of giving in too often to the attraction of a talent that tempts you to waste your time and energy on creating, as it were, ghostly images. Mastery of the form, the power of a clear embodiment will come to you only together with musical signs. So, write more than fantasize. Get familiar with conducting as early as possible. Watch more often good conductors; together with them you can slowly conduct. This will bring you clarity. Carefully observe life, and also get acquainted with other arts and sciences. The laws of morality are the same as the laws of art. With effort and perseverance, you will always achieve something higher. A pound of metal worth a penny can be made into thousands of clock springs, the value of which will increase hundreds of times. The pound you received from God, use it conscientiously. Nothing real is created in art without enthusiasm. Art is not intended For in order to acquire wealth. Get more and more major artist, the rest will come by itself. Only when the form becomes completely clear to you, will the content become clear to you (der Geist) * Perhaps only a genius understands a genius to the end. Someone argued that a complete musician should be able to imagine even a complex orchestral work heard for the first time in the form of a score. This is the highest thing you can think of. Learning has no end. Additions to " life rules"We will reward each era according to its deserts! New time also has brilliant achievements. At all times there have been bad composers and fools who praised them. If you have to play in front of someone, do not break; do it right away or immediately refuse. You must love not only one master. There were many. Do not think that the old music is outdated. Like a beautiful truthful word, beautiful truthful music can never become obsolete. Imagine the whole play as if it were before your eyes. Aphorisms You must invent new , bold melodies "Like" or "dislike" - people say As if there is nothing higher than to please people! Shed light into the depths human heart- such is the vocation of the artist! Nobody can do more than what he knows. Nobody knows more than what he can. One who does not know the most significant phenomena in literature is considered uneducated. In music we should have reached the same position. Don't amateurs try to do away with what artists have been pondering for days, months and years in an instant? * Thibault Anton Friedrich is a German scholar, professor of law at the University of Heidelberg, lover and connoisseur of classical music. The mentioned book "Uber Reinheit der Tonkunst" is devoted to questions of musical aesthetics. . your opinion in x r and r es r. When you grow up, associate more with the sprites than with the roses. And r y usr but fugues of great masters, especially Jog. Seb. Bach. "Good paced. All the folk songs; this is a whole treasure trove of the finest melodies, they open your eyes to the nature of different folks. Practice from the early morning in Reading fearful keys Otherwise for you Rbr Schumann Vital rules for musicians (1850) Translated from the German by A. G. Garchevsky and L. S. Tovaleva The development of hearing is the most important thing. from a young age to recognize
Life Rules For Musicians (or how to become a professional)
Robert Schumann (1850)
A little more than 150 years have passed since the appearance of one of the most popular works of the great German romantic composer Robert Schumann - "Album for Youth".
The history of the creation of the "Album for Youth" is closely connected with the personal, paternal musical and educational experience of Schumann.
In addition to the musical material, the draft manuscript included instructions young musicians, in a brief aphoristic form, revealing the artistic and educational credo of Schumann.
Below are R. Schumann's "Life Rules for Young Musicians" translated by another great composer - P. I. Tchaikovsky.
............................................................................................................................................................
Hearing development is the most important thing. Try to recognize tones and modes from a young age. A bell, a glass frame, a cuckoo, listen to the sounds they make.
Play scales and other finger exercises diligently. But there are many people who believe that this is all that is achieved, who, until old age, spend many hours daily on technical exercises. This is approximately the same as reading the alphabet aloud every day and trying to do it faster and faster. Make better use of your time.
Invented the so-called "silent keyboard"; try to play with it a little to make sure it is completely unusable. The dumb cannot teach to speak.
Play rhythmically! The game of some virtuosos is like the walk of a drunk. Don't follow their example!
Learn as early as possible the basic laws of harmony.
Don't be afraid of words: theory, harmony, counterpoint, etc.; they will welcome you kindly if you do the same.
Never hit the keys! Play with meaning and don't stop halfway through the play.
Pulling and rushing are equally big mistakes.
Try to play easy pieces well and expressively; it is better than mediocre performance of difficult ones.
Always take care to keep the tuning of your instrument clean.
It is necessary that not only the fingers master the piece, you must also be able to hum it to yourself without the help of an instrument. Sharpen your imagination so that you can keep in mind not only the melody, but also the harmony that accompanies it.
Even if you don't have good voice, try to sing from a sheet without the help of an instrument; in this way you will develop your ear. If you have beautiful voice, do not hesitate a minute and develop it; consider it as the most beautiful gift heaven has given you.
Always play like you're listening great artist. When you play, don't worry about who is listening to you.
If you are offered to play an unfamiliar composition from a sheet, then first run through it first with your eyes, in its entirety.
If you have completed your daily musical work and feel tired, do not force yourself to work further. It is better to rest than to work without hunting and cheerfulness.
When you're older, don't play trendy pieces. Time is precious. You need to have a hundred human lives to get acquainted only with all the good things that exist in the world.
On sweets, biscuits and sweets, a child will never grow up a healthy person. Spiritual food, just like bodily food, should be simple and healthy. The great masters have taken sufficient care of such food; and stick with it.
All the rubbish of the passages has a transitory meaning; technology has value only where it serves a higher purpose.
Do not distribute bad writings; try in every possible way to block their path to fame.
You must neither play bad compositions nor listen to them, unless you are forced to do so.
Do not strive for the brilliance of performance. Try to make the music make the impression that the author had in mind; no more is needed; anything beyond that is distortion.
Consider it a disgrace to change anything in the works of good composers, to omit or, what's good, to add newfangled embellishments to them. This is the greatest insult you can inflict on art.
When choosing pieces to work with, consult your elders; you will save yourself a lot of time.
Gradually get acquainted with the works of famous composers.
Don't be fooled by the success that so-called great virtuosos often win.
Let the approval of artists be more valuable to you than the recognition of a whole crowd.
Everything fashionable goes out of fashion; if you chase after fashion, then, when you grow old, you will be an unrespectable dandy.
Playing a lot in society is more harmful than useful.
But never miss the opportunity to play together in duets, trios, etc. This will make your game full of life, meaningful. Accompany singers more often.
If everyone wanted to play first violin, it would be impossible to form an orchestra. Respect therefore every musician in his place.
Love your instrument, but in your vanity do not regard it as the highest and only. Remember that there are others just as beautiful. Remember also the existence of singers; do not forget that the highest in music finds its expression in the choir and orchestra.
When you grow up, communicate more with scores than with virtuosos.
Play diligently the fugues of great masters, especially J. S. Bach. The Well-Tempered Clavier should be your daily bread. Then you will definitely become a solid musician.
Look among your comrades for those who know more than you.
Rest from your musical studies by diligently reading poets. Roam more often in the field and in the forest.
You can learn a lot from singers and singers, but do not trust them in everything.
Many people live in the world. Be humble! You have not yet invented or invented anything that others have not invented or invented before you. And if you succeeded, then consider your discovery as a common property.
The study of music history, reinforced by live listening to exemplary works from various eras, is likely to cure you of self-conceit and vanity.
Thibaut's study "On the purity of style in music" - beautiful book. When you get older, read it.
If you pass by a church and hear the organ being played, come in and listen. If you are fortunate enough to sit on the organ bench yourself, then try your small hands on the keys of this instrument and marvel at the power of our art.
Do not miss the opportunity to practice on the organ; there is no instrument that would just as quickly avenge slovenliness and dirt in composition and performance.
But what does it mean to be musical? You are not musical if, timidly staring at the notes with your eyes, you hardly finish playing your piece; you are not musical if, in the event that someone accidentally turns two pages to you at once, you stop and cannot continue. But you are a musician, if in a new play you roughly guess what will happen next, but in a familiar one you already know it by heart - in a word, when you have music not only in your fingers, but also in your head and heart.
But how to become musical? Dear child, the main thing is sharp hearing, quick susceptibility - it is given, like everything else, from above. But abilities can be developed and improved. You will not become musical if, secluded as a hermit, you practice technical exercises all day long; you will get closer to the goal if you maintain a lively, many-sided communication with the musicians, and, in particular, if you constantly deal with the choir and orchestra.
Study from a young age the limits and properties of the human voice in its four forms; especially listen to the voices in the choir; find out in which registers they have the greatest strength, in which expressions of softness and tenderness are available to them.
Listen attentively to all folk songs; this is a whole treasure trove of the most beautiful melodies, they will open your eyes to the character of various peoples.
Practice reading old keys from an early age. Otherwise, many treasures of the past will remain inaccessible to you.
Notice as early as possible the sound and character of the various instruments, try to capture in your ear their peculiar sound coloring.
Never miss a chance to listen to a good opera.
Highly honor the old, but also meet the new with an open, warm heart. Don't be prejudiced against names you don't know.
Don't judge an essay by listening to it once: what you like in the first moment is not always the best. Masters require deep study. Much will become clear to you only in adulthood.
In judgments about music, distinguish whether a work belongs to the realm of professional art or is created only for amateurish entertainment; defend the first, do not be angry about others!
“Melody” is the battle cry of dilettantes, and indeed, music without melody is not music. Understand, however, what they mean: they recognize only a melody, easily perceived, rhythmically attractive. But there are others, of a different kind, and wherever you discover Bach, Mozart, Beethoven, a thousand melodies of various kinds look at you; the wretched monotony, especially typical of the new Italian operatic melodies, one hopes, will soon become boring.
If you pick up small melodies on the piano, this is, of course, very nice, but if they appear on their own, and not behind the instrument, then rejoice even more - it means that your inner musical consciousness awakens ... Fingers should do what the head wants , but not vice versa.
When you start composing, do everything mentally. Only when the piece is completely ready, try to play it. If your music has poured out of your soul, if you have felt it, it will have the same effect on others.
If the sky has endowed you with a living fantasy, then in the hours of solitude you will sit as if enchanted at the instrument, trying to pour out your inner self in harmonies, and the more mysteriously you will feel as if involved in a magic circle, the less clear it will be for you. at this time the kingdom of harmony. These will be the happiest hours of your youth.
Beware, however, of giving in too often to the attraction of a talent that tempts you to waste your time and energy on creating, as it were, ghostly images. Mastery of the form, the power of a clear embodiment will come to you only together with musical signs. So, compose more than fantasize.
Get familiar with conducting as early as possible. Watch good conductors more often; together with them you can slowly conduct. This will bring you clarity.
Carefully observe life, and also get acquainted with other arts and sciences. The moral laws are the same as the laws of art. By diligence and diligence you will always reach higher things.
A pound of metal worth a few pennies can be made into thousands of watch springs, the value of which will increase hundreds of thousands of times. The pound you received from God, use it conscientiously.
Nothing real is created in art without enthusiasm.
Art is not meant to make you rich. Improve yourself as an artist, the rest will come by itself.
Only when the form becomes completely clear to you will the content become clear to you. Perhaps only a genius understands a genius to the end.
Someone argued that a good musician should be able to imagine even a complex orchestral work heard for the first time in the form of a score. This supreme perfection as you can imagine.
Learning has no end.
Robert Schumann
