Ensemble playing is a form of activity that opens up the most favorable opportunities for a comprehensive and broad acquaintance with musical literature. Report on the topic: “The importance of playing in an ensemble for the individual development of a violinist

There is no greater happiness for a musician than playing music together, and the degree of professionalism of any musician is directly proportional to his skill in playing in an ensemble. Yes, he can be an excellent soloist, whom it is a pleasure to listen to, but you can only fully appreciate him as a musician by listening to how he plays in a group.

Ensemble- a word familiar to everyone. It is often used to refer to things that have nothing to do with music. For example, an architectural ensemble. Translated from French, “ensemble” means: coherence and coherence. This is precisely its most important component. Doing something together and doing it in sync. In synchronicity lies main secret and the ensemble's continued success.

Ensembles are different, and depending on the number of musicians they have their own names. Words like duet, trio, quartet known even to people far from music.

What conditions must be observed when playing in an ensemble? How to achieve coherence and thereby develop the skills without which a musician cannot be called a musician? There are several subtleties and nuances that need to be monitored until they become a habit.

A good game, first of all! False performance will negate all good endeavors and lead to dissatisfaction with the audience. You have to work on the system and work hard.
All members of the ensemble must strictly adhere to one musical genre or manner of play. Different understandings are unacceptable piece of music from a musical point of view. For example, a waltz should sound exactly like a waltz, and if, suddenly, someone loses the character of a waltz and plays something close to a march, the ensemble will simply “fall apart.”
Same understanding of tempo and rhythm. All musicians are people, not metronomes, and some tend to slow down the tempo, while others tend to speed up. This needs to be carefully monitored, just like rhythm, because a distorted understanding of rhythm will also lead to a lack of coherence and synchronicity.
Playing in an ensemble requires the same touches of performance. At first glance, it seems that this is not so significant, but in fact, different strokes are a disharmony of music, which can be avoided if you carefully analyze the musical work.
We don’t leave any “tails”! Finish as you begin musical phrase necessary simultaneously, unless, of course, something different is initially intended. Endings that are not completed together by all members of the ensemble are very ugly and sloppy to listen to.
Dynamic consistency. The solo performance should be forgotten while playing in the ensemble. If the musician leads main topic, he should play brighter, but during counterpoint or accompaniment, the sound should be reduced.

It seems that all of the above techniques are not so complicated. In fact, playing in an ensemble requires years of concentrated work and labor, but labor that brings pleasure. Here you need to catch each other’s glances and movements greedily, for fear of missing out on anything. This is where sensitivity and attentiveness are important, qualities that will be very useful in life. Therefore, there is no doubt that the ensemble is a useful and enjoyable activity not only for listeners, but also for performers!

Now let's listen to music! The music will be ensemble.

L. van Beethoven Sonata for violin and piano No. 5 “Spring”

Playing in an ensemble unites, develops communication skills, contributes to the formation of a team, disciplines ensemble members, and instills a love for various genres musical culture.

Indeed, why - not everyone should be a musician? Musicians are special people, individuals who stand out in their manner of dressing, their manner of speaking, and their mentality. Of course, not everyone will be able to take up music professionally, but there is no need to strive for this - everyone has their own path! Many parents dream of teaching their children music. Only some are sure of the need musical education children and are ready to do everything possible for this, others doubt musical abilities their child and are afraid of harming him. By and large, the decisive factors should not be the wishes of the parents, but the child’s talent and desire for music.

So, what does an art school give a child? What's the use of it? Let us briefly list the main points.
Music develops emotionality.
A sense of rhythm develops.
Musical hearing becomes more subtle.
Game on musical instrument develops coordination and fine motor skills hands (which has a positive effect on brain development).
Singing expands the capabilities of the respiratory system and reduces the number of colds.
The sense of taste develops.
Ensemble performance provides practical skills for collective activities and teaches you to hear others. Memory develops.
Perseverance is formed (you need to exercise regularly!).
Introduces you to world culture.

When the baby grows, parents have a question - where to send the child for his comprehensive development.

But often parents choose sports section, without thinking that the baby needs additional education.

IN old times children of nobles were taught literacy, arithmetic, languages, dance and music. Learning to play a musical instrument was considered an indicator of good upbringing.

Naturally, not all children at the end of the “musical school” will choose the profession of a musician. Some will forget everything they have been taught for several years. Parents may feel that the years spent in music school, were wasted.

Many parents worry that their child will be too busy studying at children's music schools. It's unavoidable. But that's not bad. The child will be busy learning and will not wander around uselessly in dubious company. He will have developed musical taste. Music, drawing and dancing develop self-discipline, and with proper time planning, the child will have time to do homework, play music and hang out with friends. First things first initial stage a lot depends on the parents. It would seem that just recently the child was burning with the desire to master the instrument, but he is no longer there. Children tend to be lazy and the task of parents is to introduce him to music and not let everything take its course. It is worth noting that not all children preschool age know what they want to do. Parents must convince the child that learning music is prestigious and cool. In addition, he will be able to do what his street friends, who wander aimlessly along the street and do not know what to do with themselves, cannot do, and he will be able to play a musical instrument.

Studying at a music school develops communication skills and aesthetic taste, and broadens one’s horizons. And as for musical ear, then some children have it from birth, while others need to develop it.

Music lessons develop coordination

Studies have shown that children learning to play musical instruments (especially strings and keyboards) improve coordination and fine motor skills. No wonder. When playing, both the fingers and the whole hand make many movements, including very small ones. In addition, the right and left hand Sometimes they make completely different movements. Play with different strengths(one can play loudly and the other quietly), in different character and at different paces. All this helps to improve connections between the brain centers that control movements. Develops spatial thinking.

Music lessons develop intellectually

Under the influence of musical impressions, the most inert children with slow mental development, who, it seemed, could not be stirred up by any force, begin to talk.

As shown by joint research by Hungarian and German scientists, children who study music have better reactions and learn to count more easily. A direct connection was also noted between a child’s musical and mathematical abilities. Teachers junior classes They say that after music lessons, reading lessons go very well. Children's perception is heightened. They think better.

Listening to music promotes better assimilation of cognitive material in other subjects and reduces the feeling of “overload.” Music lesson with their game elements, artistic experiences, which are some counterbalance to the study scientific disciplines, performs the function of relaxation, thereby facilitating the development of cognitive material in other subjects.

Music lessons bring children and parents closer together

We mean not only the process of learning to play a musical instrument, but also listening to music together and singing together. And, perhaps, especially playing music together. The possibilities here are very diverse: playing four hands, playing in an ensemble on different instruments. Or, for example, an option when parents who know how to play accompany a little violinist or singer.

Joint home concerts also bring people together. Not all children like to be soloists. It’s much more pleasant to perform in an ensemble with your dad, mom or grandma.

Singing in a choir contributes to the spiritual development of children

We think you can't go wrong if you enroll your child in the choir. During choral singing children feel responsible for the overall sound of the song, the joy of collective creativity, and the ennobling influence of the song itself.

It is interesting that between those singing in the same choir, both children and adults, there are usually warm, friendly relations. The emotional mood of each choir member is transmitted to each other. A special atmosphere of passion for music, joy, and joint creativity is created.

At choreography lessons children learn to feel music competently. Classes help strengthen the back muscles, develop correct posture, form the body position, develop natural physical abilities such as: step (stretching), lifting, flexibility, jumping and even artistry.

After the first lessons you will be able to observe how it happens creative growth and your children’s talents are revealed. Choreography classes not only teach your child discipline and organize him, but also have a beneficial effect on mental development, because while studying choreographic compositions the child constantly has to remember the sequence of movements - this makes the child think, while muscle memory develops, coordination of movements and the vestibular apparatus begins to work well.

Drawing is of great importance in shaping a child's personality. The connection between drawing and thinking is especially important. In addition, drawing develops memory, attention, fine motor skills, teaches the child to think and analyze, measure and compare, compose and imagine. For the mental development of children it has great importance gradual expansion of the stock of knowledge. It affects formation vocabulary and coherent speech in the child.

Ten reasons to send your child to a music school

Despite the fact that the child is screaming Cheburashka songs out of tune and has no hearing; despite the fact that there is nowhere to put the piano, and the grandmother cannot take the child “to music”; despite the fact that the child has no time at all - English, Spanish, swimming class, Sunday School and so on and so forth...

Eat good reasons overcome all this and still teach music, and modern parents should know these reasons:

1. Playing is following a tradition. All aristocrats, Russian and European, were taught music. Playing music is gloss, brilliance and chic, the apotheosis of secular manners. Duke Ellington started playing the piano because girls always gather around the guy who plays. What then can we say about the girl playing?

2. Music classes cultivate will and discipline: you need to practice the instrument constantly, regularly and without breaks. Almost with the same tenacity with which champions train in the gym and on the skating rink. But, unlike sports heroes, when playing the piano, you cannot break your neck, leg, or even arm.

Music is character building without the risk of injury.

3. By playing music, a child develops math skills. He thinks spatially, hitting the right keys, manipulates abstract sound figures, memorizing the musical text, and knows that in musical piece as in a mathematical proof: neither subtract nor add! It is no coincidence that Albert Einstein played the violin, and Oxford physics professors and mathematics professors make up 70% of the university's music club members.

Attention, parents of future mathematicians and engineers! Making music is more pleasant than deciding difficult tasks from under the tutor's stick.

4. Music and language are twin brothers. They were born one after another: first - music; then - verbal speech, and in our brain they continue to live side by side.
Phrases and sentences, commas and periods, questions and exclamations are found in both music and speech.
Those who play and sing speak and write better and remember more easily foreign words, learn grammar faster. Music lovers and writers Turgenev and Stendhal, Pasternak and Tolstoy, Jean-Jacques Rousseau and Romain Rolland, each of whom knew more than one foreign language, recommend music lessons to all future polyglots.

5. Music is structural and hierarchical: large works break down into smaller parts. A spontaneous understanding of musical hierarchy makes it easier to understand a computer, which is also entirely hierarchical and structural.

Psychologists have proven that little musicians, students of the famous Shinichi Suzuki, even if they were not very successful in the development of musical hearing and memory, were ahead of their peers in terms of structural thinking. Attention, parents of future IT engineers, system administrators and programmers! Music leads straight to the top of computer science; It is no coincidence that Microsoft prefers employees with a musical education.

6. Music classes develop communication skills. Over the years of study, a child musician will become acquainted with the gallant Mozart, the rugged Prokofiev, the philosophical Bach and other very different musical figures. While playing, he will have to impersonate them and convey to the public their character and way of feeling.

Now there is one step left to the manager's talent. After all, the main thing for him is to understand people and, using his understanding, to manage them. Attention, parents of future founders of business empires! Music leads from heart to heart, and most formidable weapon top manager - the disarming smile of a “nice guy”.

7. Musicians are kind-hearted and courageous at the same time. According to psychologists, male musicians are sensual, like ladies, and female musicians are persistent and strong-willed, like men. Music softens morals, but to succeed in it, you have to be courageous. Attention, parents expecting help and support in old age! Children who have studied music are sympathetic and patient at the same time, and therefore are more often ready to give their elderly parents that same “glass of water.”

8. Musicians are less afraid of the dreaded phrase – the deadline for submitting work. At a music school, you cannot reschedule a scale test or a class concert until tomorrow or a week in advance. The position of an artist on stage teaches maximum readiness, and a child with such experience will not fail a serious exam, a job interview or an important report.

9. Musical classes raise little “Caesars” who know how to do many things at once. Music helps to navigate several simultaneous processes: for example, a pianist sight-reading does several things at once - remembers the past, looks into the future and controls the present.

The music flows at its own pace, and the sight-reader cannot stop, rest, or take a breath. Likewise, an air traffic controller, a computer operator, or a stockbroker monitors several screens and simultaneously listens to and transmits information on several telephones. Music teaches you to think and live in several directions.

10. Scientists who conducted sociological research, came to the conclusion that among the people who ended up in prison, there is not a single person who graduated from a music school in childhood.

It’s no wonder that many celebrities have a musical background:

Agatha Christie wrote her first story about why she found it difficult to play the piano on stage;

Condoleezza Rice, on the other hand, loves nothing more than to perform in public in her dazzling concert dress,

Bill Clinton is sure that without the saxophone he would never have become president.

Look at successful people in any field, ask if they were involved in music as a child, even if only for a short time, even if not with much zeal? Of course we did. And we have 10 reasons to follow their inspiring example.

The purpose and objective of creating this collection is to captivate children with popular, accessible musical material and instill an interest in ensemble playing.

The collection includes 10 songs from the film, familiar to children from early childhood, arranged for four hands on one or two pianos.

The transcriptions are supplemented with poems and drawings, which helps the child create a specific image, and the simultaneous performance of the melody with words helps to master breathing, phrasing and expressiveness of the melody.

The material is designed for use in special and general piano classes.

Every teacher knows children's love for playing four hands. Children usually love to play simple plays with their teacher. From personal experience, I am convinced that children perform familiar melodies with great pleasure. But when selecting a repertoire, the teacher is often faced with a difficult and complex arrangement of popular music. Considering big interest to this type of music-making and its undoubted benefits, I created a collection of ensembles, composed of transcriptions of songs from cartoons that are well known to children. It included ten pieces, conveniently placed - each part takes up one page, with the text of the song and a drawing attached (see. Annex 1).

Most four-hand pieces are deliberately given the easiest possible presentation of the student's part, so that the student can direct his attention primarily to the tasks of ensemble performance. These plays, i.e. student's parts, it is also advisable to use for sight reading with middle and high school children. Some of the ensembles are designed for students to play together. For example, “Song of the Baby Mammoth”, “Antoshka”, “Song of the Crocodile Gena” (see. Annex 1 , Appendix 2).

It is necessary to develop in students the ability to understand the expressiveness of music with a gradual more subtle and auditory perception of the musical fabric (the ability to listen attentively to the sound and achieve the correct phrasing of the melody, each voice individually and in their combination, the desired sonority when playing a melody with accompaniment, etc. ).

When working with a student on a piece, the teacher must teach the student to listen attentively to the musical fabric of the composition, achieving not only accurate execution of the musical text and correct phrasing, but also a meaningful transmission of the content and character of the music. The fulfillment of these tasks largely depends on the teacher’s ability to clearly, imaginatively and clearly tell the student about the content of the work, drawing his attention to the expressive means by which the musical image of the play is revealed.

As a result of the first years of study (grades 1–3), the student must learn to play a melody with a simple accompaniment expressively, with a fairly full and melodious sound, be able to convey the musical image and character of the pieces being performed, using dynamic colors (mainly the technique of contrasting forte and piano) and various sound production techniques: legato, non legato, staccato.

In the collection of arrangements “Ensembles for Children,” the simplicity of the student’s parts ensures the convenience and naturalness of the child’s touch to the instrument. Distributing the melody between two hands, from which each takes a minimum number of sounds, relieves tension, helps to use the weight of the hand, and achieve depth of sound. Here the student masters such a playing technique as moving “legato” from hand to hand.

The main attention is paid to the expressive performance of song melodies. It is necessary to teach the child to hear and feel its vocal properties in the instrumental sound of a melody - the line of development, bright intonations, melodic

breath. The melodic line should not be conveyed in isolated sounds, but in the form of formalized musical motifs - phrases that have their own bright intonations.

No instructions can convey all the nuances of articulation more accurately and subtly than living speech and a specific image. The role of text during the learning period is difficult to overestimate. It determines the naturalness of breathing, clarity of phrasing, and expressiveness of the melody.

The most accessible and understandable form of introduction to music for a child is singing with words. Each piece in the collection is given with the text of the poems and the student can first sing just a melody to the accompaniment of the teacher, and then sing and play himself. The kids really like it. This can create a tendency to repeat multiple times, and the consequence is an improvement in the quality of performance.

The meaningfulness of speech intonation is transferred to musical intonation, helping to find the desired coloring of the sound and hence the method of sound production itself. The melody associated with the text is more clearly perceived and better remembered, and therefore more easily passes into the area of inner hearing, activating it and becoming the core on which the logic of formation is built.

The collection serves to develop the creative initiative of young musicians. The first and simplest form of its manifestation is the search for new options for the distribution of sounds between the hands. In the future, you can practice more complex tasks - the child searches for his own version of the first, and then the second game, and composes his own versions. For example, changing registers. Very often I myself invite the student to “fantasize” with registers. It's quite fun and funny. At this moment, children often come up with their own scenes with cartoon characters.

Returning to the pieces previously covered with four hands, you can invite the child to combine both parts into one. This material can also be used in music lessons.

Currently, children's music education encourages pedagogy to search for such learning paths that would make the process of introducing music and mastering the skills of playing a musical instrument accessible to a child with the most ordinary abilities. We must remember that the learning process should be feasible and joyful, since if comprehending the basics of musical art involves an exorbitant amount of effort, then the child’s interest in classes usually fades away.

My main task is to make music classes interesting and enjoyable. This should be facilitated by everything that awakens the child’s imagination: musical material and a drawing, the text of songs - subtexts, a story accompanying the game. All this helps to concretize the musical image and even find the necessary hand movements.

D. Kabalevsky is deeply right when he says that “interest in music, passion for music, love for it are prerequisites for it to widely reveal and give children its beauty, so that it can fulfill its educational and cognitive role.”

“Ignite, “infect” a child with the desire to master the language of music - the most important of the initial tasks of the teacher. In childhood, not only the foundations of knowledge are laid, but also the musical thinking and the ability to work,” says A. Artobolevskaya. “Only by being able to achieve interest in music at the first meetings, you can gradually introduce the child to more narrow circle professional skills."

Anna Danilovna often repeats: “Childhood memory is the most precious memory. What you learn in childhood stays with you for the rest of your life. The child must be immediately “immersed” in music, giving him the opportunity from the very first meetings to actively act, creating a musical image. Everyone, even the most small piece, should be imprinted in the student’s mind as a holistic image that can interest and awaken the child’s imagination. And each image dictates certain performing techniques. Moreover, from the brightness of the image that has arisen, the child sometimes, as if by itself, is born the ability to convey it with the hand movements necessary for this.

As I already mentioned, one of the most important tasks for me is to spark a child’s interest in music, to merge music with his life, with his games. If the child perceives bright image, he has a need to convey this image on his own.

Ensemble play is extremely beneficial for children and is widely recommended. Playing in an ensemble with a teacher is a mandatory component of training. Teaching ensemble playing activates musical development, expands perception musical images, elements of musical speech, means of performing expressiveness. When studying an ensemble, the child listens to the sound of a new harmonic background in the teacher’s part, to the expressive and visual colors of the accompaniment, to its rhythmic and organizing principle. Next, the student’s attention is directed to listening to elements of polyphony, acute and coloristic rhythms.

I actively use these arrangements in general piano lessons. This helps children quickly master both musical notation and the keyboard, and maintains interest in the subject.

If there is insufficient emotional responsiveness to music, it is recommended to use song literature more often during initial lessons, which has a more specific impact on the child’s musical impressions and activates his interest in music. The nature of children’s preparation for mastering performed works depends on the degree of their musical sensitivity. It is useful to familiarize children with the work proposed for listening in advance (before performance). Such preparation includes an explanation of the verbal text, the nature of the music and its figurative content, the similarities and differences of parts of the form, the expressive features of the melody, rhythm, registers, dynamics, strokes. This collection is intended to help simpler and in an accessible way, using material that a child can understand, explain shape, rhythm, dynamics, registers, strokes.

The development and stimulation of the most important quality - the ability to listen well to music and actively participate in performance - is served by playing in an ensemble, where these qualities are improved due to the need to listen to a partner, coordinate the sonority and continuity of both parts.

Ensembles enrich the student’s musical performances with bright modes - harmonic sounds, figurative characteristics of various genre sketches.

Prishchepa Natalya Alexandrovna

College of Lugansk State Institute of Culture and Arts

Role ensemble playing in elementary and middle school for piano lessons

Ensemble play is a form of activity that opens up the most favorable opportunities for a comprehensive and broad acquaintance with musical literature. The musician performs works of various artistic styles, authors, various adaptations of opera and symphonic music. The accumulation of a stock of vivid, numerous auditory ideas stimulates the artistic imagination.

Playing in an ensemble promotes the intensive development of all types of musical hearing (pitch, harmonic, polyphonic, timbre-dynamic, internal).

Touching a little on the history of the piano ensemble, it should be noted that this genre began to develop rapidly in the second half of the 18th century with the advent of the hammer piano and its new capabilities: an expanded range, the ability to gradually increase and decrease sonority, an additional pedal resonator. The fullness and strength of its sound increased significantly, and unknown register colors were revealed. By the beginning of the 19th century I In the 10th century, the piano ensemble established itself as a full-fledged independent form of music-making. A rich and varied literature emerged. Almost all composers wrote for piano four hands. I X and XX centuries.

There are two types of piano ensemble - on one or two pianos. The piano duet on two grand pianos is most widespread in professional concert practice. The two instruments give performers greater freedom, independence in the use of registers, pedals, etc. The possibilities of the piano, thanks to the presence of two performers and two instruments, are further expanded.

Playing four hands on one piano is practiced mainly in the field of home music playing, musical self-education and educational activities. The close proximity of pianists at the same keyboard promotes internal unity and empathy. It is thanks to the ensemble that educational and concert repertoire is replenished with bright, interesting works created by composers of different eras.

Every teacher knows children's love for playing four hands. Students show great interest in this type of music making, which is an important component educational process, and brings them great pleasure.

Playing in an ensemble, the student first encounters such concepts as synchronicity, identical stroke, dynamic balance. Gets acquainted with such concepts as auftakt and intralobar pulsation. Mastery of these skills is necessary for the ensemble player to accurately begin the game together, to enter between sections of the work, and also to achieve synchronized performance in at a slow pace and on pauses.

The child acquires ensemble playing skills during his first piano lessons. Here we can recall the words of G. Neuhaus, who said: “From the very first lesson, the student is involved in active music-making. Together with the teacher, he plays simple plays that already have artistic significance. Children immediately feel the joy of perceiving even a grain of art. Having students play music that is familiar to them will encourage them to perform their first musical duties to the best of their ability. And this is the beginning of work on an artistic image, which should begin simultaneously with the initial training in playing the piano.”

So, at the beginning of training, when a child is just learning to make individual sounds or small chants on an instrument, various musical passages are heard in the teacher’s part: call signs for musical broadcasts on the radio, or an imitation of a music box, the ringing of bells, etc. Thus, the child immediately develops a sound imagination: they easily imitate the sounds of a tower clock, cuckoo calls, echo effects and much more. For example, D. Shostakovich “The Motherland Hears”, E. Zakharov “Echo in the Mountains”, “Evening Twilight”, “Clock on the Tower”, A. Alexandrov “Star”, V. Ovchinnikov “The Bells Are Ringing” in I. Ryabov’s collection “ Step by step".

The student can also perform several rhythmically designed sounds, as if accompanying, supporting the melody that sounds in the teacher’s part. For example, accompaniments to Russian folk songs “Kalinka” and There was a birch tree in the field”, E. Krylatov “ Winged swing"in the collection of L.A. Barenboim "The Path to Music". Due to the rich accompaniment, rich in melodic and harmonic colors, the performance becomes colorful and lively.

For some time, when the child learns to perform the simplest melodies, the teacher comes up with and plays along with him simple accompaniments. Also, the material for the ensemble can be excerpts from cartoons or popular songs. After all, a melody associated with a text is more clearly perceived and better remembered. For example, “Song of the Lion Cub and the Turtle” by G. Gladkov, “Tired Toys Are Sleeping” by A. Ostrovsky or “Winnie the Pooh’s Noisemaker”, R. Borisov, E. Krylatov “Lullaby of the Bear”.

At first, the student can simply sing the melody to the accompaniment of the teacher. An educational moment is also important here: children participate in creative process together with the teacher.

It should be noted that playing in an ensemble at this stage can help consolidate notational grammar and acquired articulation skills - legato, staccato, non-legato. For example, D. Watt “The Three Little Pigs” - the staccato stroke is fixed, as well as the sign of reprise and the sign of transfer an octave up . Thanks to the poetic text, musical sentences and percussive sounds are clearly audible. Vansembles “Santa Claus” and “Kitty” by V. Vitlin – we fix the legato stroke.

If at the initial stage of training, a child, playing in an ensemble, listens to the sound of a new harmonic background in the teacher’s part, to the expressive and figurative colors of the accompaniment, then in the subsequent stage of training, in the middle classes, the student’s attention is directed to listening to the elements of polyphony, acute and coloristic rhythms, modal and harmonic sounds that characterize various genre sketches. For example, M. Glinka “Kamarinskaya”, N. Smirnova “Bolero”, M. Mussorgsky “Gopak” from the opera “Sorochinskaya Fair”, K. Weber “March”.

As artistic challenges become more complex, so do the technical challenges of cooperative play. Students, playing in an ensemble, must master a more complex rhythm, learn to isolate the main thing from the overall sound, transfer the melodic line from one part to another, correctly pedal, etc.

So, ensemble technique places special demands on performers. The main difficulty is the ability to listen not only to what you play yourself, but at the same time to the overall sound of both parts, merging into an organically unified whole. When performing an ensemble piece, as well as a solo piece, a thoughtful, detailed study of the author's text is necessary.

What tasks, abilities and skills does ensemble playing include in piano lessons? What methods and methods exist when working on coherence in a piano duet?

Definition " good ensemble" means coherence of performance and unity of creative aspirations of the participants in the ensemble.

First of all, we need to talk about sitting behind the instrument. Unlike solo performance, the pianist has only half of the keyboard at his disposal. Partners should be able to “share” the keyboard and hold their elbows so as not to interfere with each other, especially when approaching or crossing voices.

The issue of pedaling is no less important in ensemble playing. Often students do not know this. It is necessary to explain what the performer of the second part pedals, because it usually serves as the foundation of the melody. In this case, you need to listen very carefully to what is happening in the melody. The pedal effect must be very clearly designed, since due to inept use of the pedal, the texture of the bass line, often quite dense, can become even more heavy. If a student is performing the second part, it is useful to suggest that he not play anything, but only pedal while the teacher or other student plays the first part. At the same time, it immediately becomes clear that this is not easy and requires special attention and skill.

Another important quality of ensemble playing is synchronicity of performance, i.e. a common understanding and feeling by partners of tempo and rhythmic pulse. It seemed like the simplest thing was to start playing together. But accurately playing two sounds at the same time is not so easy; it requires a lot of training and mutual understanding. The teacher must explain to the student that for the simultaneous entry of ensemble members, an inconspicuous gesture of one of the ensemble players, the so-called conductor's swing or auftaque, can be used. With this gesture, it is useful to advise the performers to simultaneously take a breath. This will make the beginning of the performance natural and organic. A chord not taken together produces the same unpleasant impression as one not taken together.

It’s important to immediately talk about pauses, which have enormous expressive meaning. And underestimating it is a common shortcoming among students. Pauses are breathing in music, which can be short or longer, but always last certain time. The simplest and effective method To overcome the tension that arises in pauses and the fear of missing the moment of introduction, this is to play the music that is playing from your partner. Then the pause will cease to be a painful wait and will be filled with life. musical feeling. From the first bars of performance in an ensemble, it requires the participants to fully agree on the methods of producing sound.

It is also necessary to note such an ensemble skill as the transfer by partners to each other “from hand to hand” of passages, melody, accompaniment, etc. The ensemble must learn to “pick up” an unfinished phrase and pass it on to a partner without tearing the musical fabric. To do this, the student must be able to distribute his attention: concentrate it, divide it, or switch it at the right moment.

Working on the ensemble important place are occupied with questions related to rhythm. Forming a sense of rhythm is the most important task of a teacher. Playing in an ensemble allows you to successfully work on developing a rhythmic sense. The ensemble requires students to have a confident, impeccable rhythm, which has a special quality: it must be collective, but at the same time natural and organic. The most common shortcomings of students are the lack of clarity of rhythm and its stability. Distortion of the rhythmic pattern most often occurs in dotted rhythm, when changing durations, when changing tempo. Lack of rhythmic stability is often associated with a tendency to accelerate. This usually happens when the sonority increases in strength or in rapid passages.

When playing with a teacher, the student is within a certain metric-rhythmic framework. Ensemble playing not only gives the teacher the opportunity to dictate the correct tempo, but also to form the correct sense of tempo in the student. It is necessary to achieve accuracy and clarity of the rhythmic pattern.

It should be said about the dynamics of execution. The dynamic range of four-handed performance should be not narrower, but wider than in solo playing, because The presence of two pianists allows you to use the keyboard more fully and create a more complete, rich sound of the instrument.

The repertoire for piano ensembles can be divided into specially created original compositions and transcriptions of symphonic music. IN educational process both types can be used. Orchestral works are excellent material for sight reading, activities for developing quick orientation skills music text. Original duet pieces require careful and complete polishing of the performance.

Modern manuals for beginning piano students include a variety of material for playing four hands. The following collections are widely used in pedagogical practice: V. Ignatiev, L. Ignatiev “I want to become a musician”, M. Sokolov “The Little Pianist”, L. Barenboim, N. Perunova “The Path to Music”, etc.

In middle school, when students have already mastered the basic skills of playing an instrument, jazz pieces can be added to the repertoire. Children really like them, they develop students rhythmically, enrich their auditory impressions with a new musical language and jazz harmonies. For example, M. Schmitz “Orange Boogie”, S. Joplin “Variety Artist”, N. Smirnova “In the Rain” and “Ragtime”.

The jazz style of playing is distinguished by its particularly active sound production and requires a special, specific touch from the performer.

Thus, the role of ensemble playing in learning to play the piano is very important. She teaches everything: rhythm, quick learning musical notation, understanding the structure musical form, conscious attitude to business, responsibility. This is the art of conducting a dialogue with a partner, i.e. understand each other, be able to give on time and give in on time. If a child masters this art during the learning process, then we can hope that he will successfully master the specifics of playing the piano.

Literature

1. Alekseev A.D. Methods of learning to play the piano / A.D. Alekseev -M.:Music,

1978. – 289 p.

2. Neuhaus G.G. About the art of piano playing / G.G. Neuhaus - M.: Music, 1982. - 299 p.

3. Sorokina E.G. Piano duet: History of the genre / E.G. Sorokina. – M.: Music,

1988. - 319s

4. Gottlieb A.D. First lessons of the piano ensemble / A.D. Gottlieb // Issues of piano pedagogy [under the general editorship of V. Nathanson.] – Issue 3. – M.: Muzyka, 1971. -WITH. 91-98.

Ensemble is a word familiar to everyone. It is often used to refer to things that have nothing to do with music. For example, an architectural ensemble. Translated from French, “ensemble” means coherence and coherence. This is precisely its most important component. Doing something together and doing it in sync.

The main secret and constant success of the ensemble lies in synchronicity. Ensembles are different, and depending on the number of musicians they have their own names. Words such as duet, trio, quartet are known even to people far from music.

What conditions must be observed when playing in an ensemble? How to achieve coherence and thereby develop the skills without which a musician cannot be called a musician?

There are several subtleties and nuances that need to be monitored until they become a habit.

A good game, first of all! False performance will negate all good endeavors and lead to dissatisfaction with the audience. You have to work on the system and work hard.

All members of the ensemble must strictly adhere to the same musical genre or style of playing. Different understandings of a musical work from the point of view of musical orientation are unacceptable. For example, a waltz should sound exactly like a waltz, and if, suddenly, someone loses the character of a waltz and plays something close to a march, the ensemble will simply “fall apart.”

Same understanding of tempo and rhythm. All musicians are people, not metronomes, and some tend to slow down the tempo, while others tend to speed up. This needs to be carefully monitored, just like rhythm, because a distorted understanding of rhythm will also lead to a lack of coherence and synchronicity.

Playing in an ensemble requires the same touches of performance. At first glance, it seems that this is not so significant, but in fact, different strokes are a disharmony of music, which can be avoided if you carefully analyze the musical work.

We don’t leave any “tails”! It is necessary to end and begin a musical phrase at the same time, unless, of course, something else is initially intended. Endings that are not completed together by all members of the ensemble are very ugly and sloppy to listen to.

Dynamic consistency. The solo performance should be forgotten while playing in the ensemble. If the musician leads the main theme, he should play brighter, but during counterpoint or accompaniment, the sound should be reduced.