Funeral of a doll analysis of the work. Composers for children: Tchaikovsky “Children’s Album”

Genre: Piano miniature in C minor from the cycle “ Children's album", op. Z9.

In music written for children, one senses a caring attitude towards the child’s experiences, an understanding of their depth and significance. Listening to this piece, you pay attention to the seriousness and genuineness of the little hero’s feelings, to the respect with which the composer treats the child’s personality.

It was no coincidence that Tchaikovsky gave the subtitle to his cycle – “In Imitation of Schumann.” This piece involuntarily recalls “The First Loss” from R. Schumann’s “Album for Youth.”

The play is permeated by the characteristic rhythm of a typical funeral march, but this feature does not make the play a truly funeral march. Sometimes in literature you can find a statement that here Tchaikovsky reproduced the sound of a choir. It seems to us that this music can be more easily imagined in an orchestral rather than a choral version. But be that as it may, both when performing and while listening to this play, you should not take everything too seriously. Still, the composer creates the impression of a funeral with sounds dolls: The element of play here should not disappear completely.

This one-page piece is written as a three-part piece (P. Tchaikovsky's favorite musical form in piano miniatures). If we imagine it in an orchestral sound, the outer (identical) parts are associated with wind instruments, while the music in the middle part could be performed by strings, for example, a string quartet.

Notes

1 Here comes a good opportunity to talk not only about the art of composing music and not only about the art of performing it, but also about the art of listening to it. Of course, no one has the right to prohibit the listener from having certain ideas and fantasies, but sometimes these fantasies are initially directed in the wrong direction. The 20th century, with its catastrophic world cataclysms, encourages - and this is quite natural - to look at many things in the past (and those that came from the past) through the prism of this human experience. As a result, this popular work like Haydn's Farewell Symphony, written as humorous or, to put it mildly, ironic, is perceived as tragic.

"Collection of easy plays for children" op. 39 occupies a special place in Tchaikovsky’s piano heritage both in its themes and in the peculiarities of its piano presentation. It is difficult to name a work more popular in Russian children's piano literature than “Children's Album” by P. I. Tchaikovsky.

The first mention of the idea of a “Children’s Album” dates back to February 1878. at that time he was on a long trip abroad. In a letter to P. Jurgenson: “Tomorrow I will start writing a collection of miniature plays for children. I’ve been thinking for a long time that it wouldn’t hurt to contribute as much as I can to enriching children’s musical literature, which is very poor. I want to make a whole series of small passages of unconditional ease and with titles enticing for children, like ".

At the time of the creation of the "Children's Album" Tchaikovsky was in his prime creative forces. But this is the first time the composer has taken on a composition addressed to children.

"Children's Album" op. 39 written in May 1878. The history of its creation is inextricably linked with Kamenka, a large Ukrainian village near Kyiv, the composer’s favorite place of creativity and recreation. Kamenka is the “family nest” of the large noble family of the Davydovs. One of the owners of the Kamensky estate, Lev Vasilyevich Davydov, was a friend of Tchaikovsky and the husband of his beloved sister Alexandra Ilyinichna.

Much in “Children’s Album” is connected with the atmosphere of the Davydovs’ house. Alexandra Ilyinichna’s home furnishings were an example family life. Happier people it was difficult to imagine, and Pyotr Ilyich was overwhelmed with such tenderness and joy at the sight of this that for a long time he connected the idea of the life of the Cayenne inhabitants with the embodiment of earthly prosperity.

Tchaikovsky dedicated his cycle of children's plays to Volodya Davydov, one of the many children of Lev Vasilyevich and Alexandra Ilyinichna. The composer's nephew was six and a half years old at that time. The title page read: “Children's album. A collection of light plays for children. Imitation of Schumann."

This album reflects the children's world, depicted by the composer with amazing sensitivity and subtle understanding of children's perception of life. Tchaikovsky loved children, he was ready to tinker with the children for hours, enjoying their chatter, experiencing acute feeling pity for sick children, striving to bring joy and pleasure to every child he met. And the children felt this love, became attached to Tchaikovsky, seeing in him a gentle and caring friend.

The cycle of 24 plays is connected by a single theme. It presents a colorful world of children's games, dances and random experiences. It is divided into microcycles. The first of them can be called “morning”.

Lord God! Save, warm:
Make us better, make us kinder.
Lord God! Save, save!
Give us the power of your love.

"Winter morning"

The strict reflection of “Morning Prayer” gives way to the stormy “Winter Morning”, full of alarming omens. Pyotr Ilyich himself was born in a small town. It seems that in “Winter Morning” he depicted his childhood impression. It was as if the baby looked out the window and saw a snow-covered street and frozen windows in the house opposite.

It's freezing. The snow crunches. Fogs over the fields.
Early smoke billows out from the huts.
The silver of the snow glitters with a purple tint;
Spiny frost, like white fluff,
The bark is strewn across the dead branches.
I love the brilliant pattern through the glass
Entertain your eyes with a new picture;
I love to watch in silence how early
The village cheerfully faces winter...

"Mother"

“Mama” returns peace to the soul of the hero of the cycle. The gentle, affectionate, melodious sounds of the play “Mama” seem to soothe and explain something. These were probably the memories of Pyotr Ilyich himself about his mother. No wonder all his life he remembered her wonderful eyes, smooth, dignified movements, deep chest voice.

Mom, very, very
I love you!
I love you so much that at night
I don't sleep in the dark.
I peer into the darkness
I'm hurrying Zorka.
I love you all the time
Mommy, I love you!
The dawn is shining.
It's already dawn.
No one in the world
There is no better mother!

« »

The second major section is “Home Games and Dancing” (“Game of Horses”, “March wooden soldiers"). It opens with perhaps the most cloudless, childishly naive plays of the Album - the mischievous toccattina "Game of Horses" and the toy "March of the Wooden Soldiers". These are "boys' games."

"Horse Game"

Boys are very interested in playing horses.

I'm on my golden-headed horse
He sat down and rushed around the house, around the room,
Past the table, whatnot and bedside table,
Past the cat lying on the sofa,
Past the grandmother sitting knitting,
Past a ball and a box of toys.

"March of the Wooden Soldiers"

And in the box with toys there are brand new, beautiful soldiers that just attract you to them. They are just like the real thing, you can line them up and send them to the parade. Here is a toy army taking a step in a funny march.

At-two, left, right,
At-two, left, right,
We walk easily and cheerfully.
At-two, left, right,
At-two, left, right,
I sing a wooden song.

The next three numbers are “girls’ games” (“doll trilogy”)

This is also a game (after all, the heroes of the action are dolls), and like the dolls that come to life in “The Nutcracker,” here the dolls also “come to life.” Three plays of the minicycle (“Illness”, “Funeral”, “ New doll") are perceived as a reflection of authentic, “real” life.

"Doll Disease"

Slow, drawn-out movement (during illness it’s usually “boring”) with sad intonations of the melody, which, like sighs, conveys the sad mood of a girl whose doll is sick.

"Doll Funeral"

A miracle did not happen, the doll died. The funeral march sounds solemnly and strictly, as in a real funeral procession. All the toys came to the funeral. The music of “Funeral March” conveys the gloomy flavor and the very movement of the procession of toys, as if passing in front of the listener.

"New Doll"

But life does not stand still and the girl is given a new doll. And she begins to spin in a fast dance with her new friend.

"Waltz"

“Waltz” is the beginning of a miniature dance suite, combining three numbers (“Waltz”, “Polka”, “Mazurka”) and completing a series of “house” pieces.

In letters written a few days before the start of composing the “Children’s Album,” the composer writes: “There are many guests, and in the evening I will have to accompany for the sake of my dear nieces, who really love to dance.”

"Polka"

The whirling waltz gives way to a cheerful “Polka”

"Mazurka"

But the mazurka began to sound!
Mazurka is a dance anywhere!
Perky, light and cheerful,
Please dance, gentlemen!

Next, the composer sends the child on an exciting “journey.” First in Russia (“Russian song”, “A man plays a harmonica”, “Kamarinskaya”), then in Europe (“Italian”, “Old French”, “German” and “Neapolitan” songs).

It is not difficult to discern an autobiographical motive here. The composer also traveled a lot both in Russia and abroad, but he always gave his heart to Russia..

“I grew up in the wilderness, from childhood, very early, I was imbued inexplicable beauty characteristic features of Russian folk music,” wrote Tchaikovsky.

For processing folk song Tchaikovsky made strict demands: “It is necessary that the song be recorded, as far as possible, in accordance with the way the people perform it.”

So in “Russian Song” the composer turned to the Russian folk dance song “Are you a head, my head?”

Throw a flower into the stream -
The stream will carry him away.
Sing me a song nightingale -
Your heart will become happier.

"A man plays the harmonica"

In the play “A Man Plays the Harmonica,” the intonation turns and harmonic moves characteristic of Russian single-row harmonicas are played out.

"Kamarinskaya"

“Kamarinskaya” is based on one of the variants of the famous Russian folklore theme and imitates the balalaika tune.

How much fun we have today -
Everyone started dancing to Kamarinskaya.
Mom dances, dad dances, I dance,
My sisters are dancing, my whole family is dancing.
Grandma is dancing, grandfather is dancing,
Brother and neighbor are dancing

“Italian”, “Old French”, “German” and “Neapolitan” songs are a kind of “pages from a traveler’s diary”: their melodies were recorded by the composer during a trip abroad in 1878.

Tchaikovsky told how in Florence, Italy, on the street he once heard a ten-year-old boy playing a guitar, surrounded by a crowd of people. “He sang in a wonderfully thick bass voice with such warmth as is rarely found in real artists.” The text of the song, heard from a street boy singer, struck the composer with the contrast of the appearance of the child performer and the tragic content, and he remade this song into a piece for piano.

In the “Neapolitan Song” Tchaikovsky used a truly folk Italian melody. This piece is one of the most famous melodies. Pyotr Ilyich himself also loved this music, and on its basis he subsequently created the famous “Neapolitan Dance” for the ballet “ Swan Lake" A picture of a cheerful Italian carnival clearly emerges in the listener’s imagination - Tchaikovsky observed it more than once when he was in Italy.

I have loved this evergreen land forever!
Ah, Naples, a place dear to my heart,
I won't part with you,
My Naples, never.
Everything around here is mine -
And the distances are endless, and the buildings are elegant,
And the streets are short, and the squares are ancient,
And boats on the sand, and Vesuvius itself in the distance.

“An Old French Song” embodies a French folk melody.

In "The German Song" Tchaikovsky uses a Tyrolean motif. It is also similar to an old and popular dance in Germany and Austria - Ländler.

The wanderings end. The final microcycle of the “Children’s Album” (No. 19-24) is a peculiar

"Homecoming".

"Nanny's Tale"

"Baba Yaga"

From the caustic chords of “Nanny’s Tale” the nightmare of “Baba Yaga” seems to grow.

"Sweet Dream"

A terrible dream is replaced by a sweetly sensual “Sweet Dream”

Peace of mind comes in the last three plays, the final microcycle of the Album.

"The Lark's Song"

It opens with “The Lark's Song” - morning, the end of nightmares and languid dreams. This musical landscape with the image of a lovely bird and its unforgettable trills.

It is replaced by the play “The Organ Grinder Sings.” This play is a genre-characteristic sketch, the sounds of which depict an old man. He turns the handle of the organ and beautiful drawn-out sounds pour out of it. The play “The Organ Grinder Sings” is based on another Italian (Venetian) motif. A simple, but wisely calm theme dispels the child’s gloomy thoughts.

"In the church"

The collection ends with the play “In the Church.” Thus, the first and last numbers are connected by a kind of arch; What is common in both cases is the solemn enlightened religious principle. The majestic and mournful choir “In the Church” is based on the true church theme of the penitential psalm.

Tchaikovsky's collection is one of the best examples of children's musical literature. “Children's Album” is a most valuable contribution to world piano literature, serving as an example for a number of collections written by composers from different countries. Almost all Russian composers - authors of children's plays - are under the undoubted influence of Tchaikovsky.

Let's remember the collections of Grechaninov, Gedike, Kabalevsky and many other albums and individual children's plays.

Municipal state-financed organization

additional education

Children's Art School No. 8

Ulyanovsk

Methodological development

"Methodological analysis of plays from

"Children's Album" by P.I. Tchaikovsky"

higher education teacher qualification category

piano class

MBU DO DSHI No. 8

Chevacina Galina Aleksandrovna

201 6 G.

annotation

The work presents the history of the creation of the most famous and popular composition for children in close connection with the biography of the composer. The main part of the work gives figurative characteristics of the plays and guidelines teachers in working on works. .

1.Introduction………………………………………………………..………….………….2-4

2. Main part………………………………………………………………5-20

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

4. Literature……………………………………………………………….20-21

"Methodological analysis of plays from

"Children's Album" by P.I. Tchaikovsky"

I. Introduction

Musical language is very good at conveying feelings and moods. In order to “draw” something with the help of music or “tell” about something, composers resort to ordinary, verbal language. It could be just one word in the title of the play.

But this word guides our imagination. For example, in the play “The Lark's Song,” small figures in triplets and grace notes convey the chirping of birds.

All names and verbal explanations for musical works are called a program. And music that has a program is called program music. All works in the “Children's Album” collection are programmatic.

The first outstanding collection of music for children in Russian piano literature was “Children's Album” by P.I. Tchaikovsky. The appearance of this collection is not an accidental occurrence in the composer’s creative biography. Tchaikovsky devoted a lot of time and effort to teaching. In addition to working at the Moscow Conservatory, he wrote a textbook on harmony and translated several works by Western European musicians, which could be useful in the education of Russian students.

"Children's Album" is distinguished not only by its enormous artistic value, but also extremely useful for educating students.

Returning to Russia after a trip abroad in the spring of 1878, Tchaikovsky visited the village. Kamenka his sister Alexandra Ilyinichna Davydova, who had 7 children. Pyotr Ilyich adored his nephews and nieces, he walked with them, arranged fireworks, musical performances, evening dances, took part in games, and enjoyed the spontaneity of children.

Tchaikovsky often listened to the children playing music, especially 7-year-old Volodya Davydov. He wrote with great warmth about his nephew to N.F. von Meck: “For his inimitably charming figure, when he plays, looks at the notes and counts, entire symphonies can be dedicated.”

P.I. Tchaikovsky dedicated his “Children’s Album” to this Volodya Davydov, which enriched children’s musical literature. Cycle piano pieces"Children's Album", Op. 89 was written by P.I. Tchaikovsky in May 1878 and published by P. Jurgenson in October of the same year. On title page first edition, the full title of the cycle: “Children's Album. A collection of light plays for children (imitation of Schumann). Composition by P. Tchaikovsky.”

Indeed, one can trace the connection between the “Children’s Album”

P.I. Tchaikovsky with a similar composition by R. Schumann “Album for Youth”. This is expressed not only in the choice of subjects (“March of the Soldiers” - and “March of the Wooden Soldiers”, “First Loss” - “Funeral of a Doll”, “Folk Song” - “Russian Song”, etc.), but also in the choice of means of musical incarnations. Both composers speak to children surprisingly clearly and simply and at the same time seriously, without any “adjustment”. The collections captivate with their lyricism. Like Schumann, Tchaikovsky in most of his plays enriches the musical fabric with elements of polyphony. But even in these works for children, the composers do not deviate from the basic principles of their piano style. Therefore, Tchaikovsky’s “Children’s Album” is perceived as Russian music, as a series of pictures dedicated to the everyday life of Russian children. Pyotr Ilyich strove to ensure that his music was lively and exciting, so he even showed interest in the external design of the publication of plays - in pictures, in the format of the collection.

Schumann's influence on piano style Tchaikovsky can be seen in the similarity of texture, rhythm and dynamics. In “Album for Youth” and “Children’s Album” the plays are intonationally memorable, accessible to a child, contrasting in character, but united by one idea. Each play is a small story from the lives of children. When lined up together, they reflect the whole world. The programmatic nature of the collections makes them understandable and interesting for beginning pianists. With extraordinary sensitivity and a subtle understanding of child psychology, the composer reflected in the “Children's Album” the life and everyday life of the children of the environment that surrounded him every day.

In the “Children's Album” by P.I. Tchaikovsky there are 24 plays that are not connected by a single theme. Each play contains a specific plot, living poetic content. The collection captures a wide range of images. These are pictures of nature - “ Winter morning", "The Lark's Song", children's games - "Game of Horses", "Doll's Illness", "Doll's Funeral", "New Doll", "March" tin soldiers", depicts the characters of Russian folk tales - "Nanny's Tale", "Baba Yaga", Russian folk art - "Russian Song", "A Man Plays the Harmonica", "Kamarinskaya", songs of other peoples - "Ancient French song", "Italian song", "German song", "Neapolitan song", European dances - "Waltz", "Mazurka", "Polka".

The works in the collection are written for children, so texture, fingering, harmony, articulation, dynamics and pedaling take into account the child’s performing abilities. Tchaikovsky wrote 19 of 24 plays in major keys, chords are intended for children's hands, dynamics from pp to f. Most plays are written in a simple two-part or three-part form.

Purpose of writing the work:

Disassemble program works Russian composers for children using the example of “Children's Album” by P.I. Tchaikovsky.

Job objectives:

analyze the relevance of the collection;

reveal the figurative characteristics of the album's plays;

II. Main part

"Morning Reflection"

In the first edition the play was called " Morning prayer", reminiscent of a saraband - strict four-voice, rhythmic figure - a quarter with a dot - an eighth.

The bright and serious mood seems to warn that the story about children will take a serious tone. The piece is written in the key of G major. The character is calm, thoughtful, the texture with elements of polyphony, the form of an extended period with a large addition at the tonic organ point.

Articulation and dynamics should emphasize the expressiveness of the piece. It is important to achieve a soft, melodious legato sound in all voices.

You should especially work on the tonic organ point.

"Winter morning"

The play captures the picture of a snowy, frosty winter morning and at the same time conveys the psychological mood of the child. The piece begins with a joyful D major, which soon modulates into parallel minor, as if joy is overshadowed by cloudy weather.

The play is written in a simple 3-part form. The agitated, assertive extreme parts are contrasted by the middle, where pleading, plaintive intonations appear.

At the beginning of the play, a sequence of falling seconds at a fast pace creates a feeling of liveliness, bustle of the day that has just begun. And in the middle, a rhythmic regrouping, the sound of an interval of an increased second and a change in the ascending direction of movement to a descending one create the impression of a child’s plaintive intonation. In the reprise, active and pleading intonations seem to be combined.

The texture of the piece is chordal. The pedal in the first part of the piece is straight, short: it is taken on the first beat, and in the middle - on the first beat of every second measure.

"Mother"

The title itself contains the meaning of the work, which emphasizes author's remark- “With great feeling and tenderness.” An affectionate, gentle, bright melody sings, and the whole texture sings with a “melodized” lower voice. When working on a melody, you need to achieve a beautiful, deep, cantilena sound (it is better to extract it with the pad of a slightly outstretched finger with a light unifying movement of the hand every three notes).

In the middle of the play, a “shadow cloud” appears and melodic echoes appear. It is important to hear the melodic line of the bass clearly. It must be taught separately and legato.

"Horse Game"

This lively, figurative, sunny scherzo is playfully boyish, with a stubborn ostinato rhythm. This is the tempo of a small toccata, which is characterized by a fast theme and ease of execution. The student can introduce himself actor jumping on a stick or toy horse. The whole piece should sound very distinct and sharp.

The play is written in a simple three-part form in the form of a toccata with the same rhythmic pulse, imitating the clatter of the hooves of a galloping horse. The play is consonant with the miniature by R. Schumann “The Brave Rider”.

From beginning to end, the piece is written in a four-voice quartet chord structure. The student needs to be helped to achieve the sound harmony of the chords. Therefore, it is necessary to work on staccato at a slow tempo: staccato is performed with the smallest movements of the hand with tucked fingertips. The teacher must make sure that the student does not make any unnecessary movements, and when repeating notes, he uses a double piano rehearsal.

It is useful to learn the melody and accompaniment separately; you can also work out the right hand part at a slow tempo, playing it with both hands.

As the sonority increases, the hand and then the forearm are “connected” to the fingers. When going to fast pace you need to preserve pianistic techniques.

In the middle part of the piece (from the 25th bar), a change in mode is clearly felt (first in B minor, and then everything is repeated in E minor). Subvoices appear in the chord texture. After the passing shadow, D major sounds especially light and energetic in the reprise.

"March of the Wooden Soldiers"

This piece is a funny march, to the sounds of a “toy” orchestra with flutes and drums, as if a toy army of wooden soldiers is stamping out a step. Therefore, the main difficulties in this piece are rhythmic. The entire piece must be played extremely clearly, evenly, strictly, in moderate pace. First, it is important to learn the piece at a slow tempo with strong fingers. It is important to get the student to simultaneously remove his hands during pauses, accurately perform the rhythmic pattern, and pay attention to the fingering.

The play is written in a simple three-part form. The middle of the piece sounds secretive and even a little threatening, thanks to the change of mode (A minor) and the use of Neapolitan harmony.

"Doll Disease"

Tchaikovsky wrote a cycle about dolls, which included: “The Doll’s Illness,” “The Doll’s Funeral,” and “The New Doll.”

P.I. Tchaikovsky has so much keen observation, apt sketches of the capricious childish psyche with characteristic transitions from sadness to joy, from tears to laughter and fun.

“The Doll’s Illness” is a sad play: the doll is sick, suffering, moaning, complaining. You need to work with the student on a melodious melody, expressive bass and harmonies following one after another. You can learn the melody separately, without pauses, at a more agile pace, in order to better feel its development. Vertical harmonies need to be assembled into a chord to make them easier to hear.

This piece is good for teaching a child about the delayed pedal. Take it on a quarter note with a dot in the left hand part and listen to it along with the melodic note until the end of the measure, and then smoothly remove it. And so on in every next measure.

In the music you can hear sighs, tears, and gusty breathing.

7. "Doll's funeral"

First losses little man, serious experiences, meeting with death are consonant with R. Schumann’s play “The First Loss”.

In a solemn funeral procession, a funeral march sounds in gloomy C minor. Using dynamics, the composer depicts either the approach of the funeral procession or its departure. The rhythmic figure: a half note, an eighth note with a dot, a sixteenth note and again a half note – is characteristic of a funeral march.

The gloomy nature of the music is emphasized by the heavy chords and intervals in the accompaniment.

You need to explain to the child that in this play the funeral is a puppet funeral and you need to treat it with respect. like a game.

"Waltz"

Waltz is couples dance, it is based on smooth circling. Waltz is one of P.I. Tchaikovsky’s favorite genres. This waltz has features of both a ballroom and lyrical mood in the first part, and becomes characteristic and brilliant in the second part. Or you can imagine part I as a “child’s smile”, and part II as a “sob”. After all, only children know how to smile and sob at the same time.

This play is written in a complex three-part form. Along with the waltz itself, it contains sections with elements of characteristic dance (in the middle part). To reveal the features of the work, you need to come up with figurative comparisons. For example, imagine the New Year holiday and children dancing near the Christmas tree. One merry dance follows another. The smooth, graceful waltz is replaced by the dance of a little ballerina performing intricate steps (bars 18-38), which is replaced by the clumsy and funny dance of the mummers (bars 38-52).

It is better to start working on a waltz with an accompaniment - legato, with slightly noticeable support from the bass.

When working on a melody, you need to achieve melodiousness and plasticity, pay attention to syncopations in 2 - 4 bars.

In the middle part, it is necessary to help the student feel polymetry - a combination of a three-beat waltz accompaniment with a two-part right hand part, to feel two-part.

Pedaling will help identify danceability: connecting the bass with chords with a delayed pedal.

"New Doll"

This is a subtle psychological sketch - the girl’s joy over wonderful gift- a new doll.

The play is based on the waltz genre. The lightness of the flexible, intermittent movement of the melody creates an atmosphere of childish happiness.

The feeling of a “soaring” melody to the “G” note of the sixth bar makes it possible to play the entire first formation “in one breath.”

The student should be explained that the lines in the middle part are not phrasing, but strokes; they reflect excitement and impatience.

Take the pedal short, counting “one”.

"Mazurka"

The name of the Polish folk dance "Mazurka" comes from "Masur" - the name of the inhabitants of Mazovia. The mazurka is characterized by a three-beat meter and rhythm with frequent shifts of emphasis to the second and third beats of the measures.

A distinct, precise touch of the fingertips to the piano keyboard, a slow tempo, a clear hearing of harmony, comfortable fingering, pedaling that helps to mark either a downbeat or syncopation - this is what will help the student learn the mazurka in the desired character.

"Russian song"

“Russian Song” is built on a genuine folk melody “Are you a head, my little head”, included by the composer in his collection - “50 Russian folk songs for piano 4 hands”. This is an example of Russian folk subvocal polyphony, in which four-voice alternates with two- and three-voice .

With a constant melody, the music varies due to the moving bass and echoes.

When working on a play, you need to ensure that the student hears a combination of voices. For this purpose, two-voices in one hand must be taught with both hands.

"A man plays a harmonica"

The play is extremely figurative. The image of a man on a slope trying to learn to play the harmonica. It’s as if the man is reluctantly, leisurely, and lazily plucking the bellows of the harmonica - he obviously knows how to play only this one motive and repeats it endlessly. There is no development here.

In form it is a theme with variations. The miniature ends with multiple repetitions of its main harmony - the dominant seventh chord, which acts as a tonal foundation. Despite its simplicity, the piece sounds fresh and picturesque.

13. "Kamarinskaya"

This play gained the greatest popularity. In it, Tchaikovsky uses the natural, everyday intonation of the dance.

“Kamarinskaya is written in D major, this is the tonality of the hero of the cycle, the result of the hero’s development, his formation as a Russian person.

In "Kamarinskaya" you can hear a folk song - a dance with a daring, perky character.

“Kamarinskaya” imitates folk techniques of variation. In the theme (12 bars) in the left hand part, the buzzing bass sound “D” and the upper voice are reminiscent of the sound of the folk instrument bagpipes, on which you can play both the melody and the drawn-out bass. The upper voice sounds like a balalaika. Staccato should be played very short, with a pinch.

The climax of the play is in the second variation. Massive chords, set out in two octaves, sound thick and rich. To achieve the required sonority, they must be extracted with the whole hand, in a movement “away from the key.” This variation in sonority is reminiscent of a harmonica.

The pedal is straight, short, for every chord.

14. "Polka"

Polka is an elegant and cheerful dance with playful humor in the extreme parts and a touch of comic angularity and clumsiness in the middle. In polka you need to achieve a light, elegant sound. It is necessary to work on the accompaniment, achieving a light staccato with small “pricks” of the bass notes; staccato is best performed with a small push “from the key”.

15. “Italian song”

Written in the key of D major. It was created as an everyday sketch during a trip abroad. In a letter from Florence, the composer wrote that one day he and his brother heard a ten-year-old boy singing a tragic song with a guitar. He sang in a beautiful, thick voice with such warmth that he touched Pyotr Ilyich’s heart. And this song was included in the collection called “Italian Song”.

The play is written in a simple two-part form. The bright melody flows calmly and leisurely.

When learning this piece with a student, you need to focus on the waltzing nature of the musical image. It is necessary to work separately on the melody (movable and graceful in the first part, and cantilena in the second) and the accompaniment (light, waltz-like, with barely noticeable support from the bass).

In the second part the texture becomes more complex. The melody and accompaniment are transferred to right hand, and in the left, on a sustained bass, a monotonous “mechanized” movement of the quarters appears.

Care must be taken to ensure that the accompaniment in the right hand sounds very quietly and does not drown out the melody.

16. “Old French Song”

This is a melancholic, soulful song, like a memory of a distant past.

The play is written in three-part form, in G minor. The melody in the first part should sound deep and drawn-out. There are two voices in the left hand.

The middle part begins secretly, with a “cello” staccato accompaniment, and then quickly comes to a climax. In the melody, despite the short leagues, it is necessary to try to avoid fragmentation. It is better to perform the accompaniment with light movements of the hand, but with strong fingers. Before the climax, it is appropriate to make a small ritenuto and caesura, so that after it the wonderful melody of the reprise can sound even more soulfully.

17. “German Song”

“German song” is cheerful, with a “bouncing melody”. It is based on the intonations of a Tyrolean song, and the rhythm is reminiscent of the ancient Ländler dance, popular in Germany and Austria.

It’s useful to teach the accompaniment separately with your students: take the bass deeper and make the second and third beats easier. Play the delayed pedal on the “one” count. “The German Song” is written in three-part form.

18. “Neapolitan Song”

“The Neapolitan Song” is full of the bustling animation of Italian squares. It should be executed easily, accurately observing all the strokes.

The temperamental, graceful play is reminiscent of the national italian dance tarantella - full of energy, flaring up with fun towards the end. The melody and rhythm of the piece convey the characteristic turns of Italian folk music - repeating rhythms and intonations, accents after pauses, imitation of folk sounds musical instruments.

A common flaw in performance is the unclear sound of the rhythmic figure typical of castanets or guitar - two sixteenth and two eighth notes, in which the second sixteenth does not always sound clear.

Another drawback is the heaviness of the accompaniment, which significantly reduces the expressiveness of the performance of the piece. To overcome these technical difficulties, it is useful to teach the left hand part with an upward wrist movement on the accented second beat of the bar. When performing a melody, it is necessary to perform all the strokes indicated by the composer: lines, pauses, accents.

The play is written in three-part form. It consists of three periods, each of which consists of two sentences. The second period (bars 20 and 36) develops the first, but sounds more lyrical and soft. The third, on the contrary, is more temperamental and bright: the tempo, dynamics, texture changes. The execution of the accompaniment of this part causes some difficulties due to its scattered nature. It is necessary to combine the bass and chord (constantly alternating) in one movement. This allows you to avoid fussiness and heaviness, and gives the game accuracy and confidence.

The repeating sounds of the melody after the leagues should sound light but clear. When performing a piece, it is necessary to avoid thick pedal sonority.

19. "Nanny's Tale"

Among the vivid impressions of childhood captured by Tchaikovsky, one can note the images of folk tales. It happens late in the evening. It's time to put the child to bed and "suffer". This is where the original plays are heard: “Nanny’s Tale” and “Baba Yaga” - a very rare and expressive example of Tchaikovsky’s fantasy.

In this play, you can imagine an old nanny, who immediately in our imagination transforms into the image of a fantastic witch

(for example, Pushkin's Naina). Some angularity, “prickly” presentation, rhythmic whimsicality, intricate placement of accents help create a fairy-tale atmosphere, the bass line is reminiscent of childhood fears.

The original image of nanny's fairy tales reveals new page in “children’s” romance, completely different from Mussorgsky’s, both in expression and form. In “Nanny's Tale” there are unusual harmonies, something bizarre and fantastic can be heard in the music.

The play is written in three-part form.

“Nanny’s Tale” and “Baba Yaga” - two symphonic transients among visual paintings children's world and lyrical images of the “Children’s Album”.

20. "Baba Yaga"

Baba Yaga is a fabulous, fantastic image. Dry staccato creates the impression of hardness and prickliness, inextricably linked in our imagination with the image of a ferocious witch. In the music you can hear “Baba Yaga” rushing in pursuit of someone. And, it seems, you believe how she flies over the forests and valleys in her mortar, “drives with her sixth, covers her trail with a broom.”

The furious attacks of eighth notes, as if breaking against sforzando chords, give this image a touch of dullness (a similar impression is created in Mussorgsky’s “The Hut on Chicken Legs” by the steady return to the sound “g”).

Teach staccato with a student in legato, and then portamento at a slow tempo.

Considerable expressive role plays the harmonic language of the piece. P.I. Tchaikovsky, like Mussorgsky, used the tritone to characterize Baba Yaga.

The play is written in a simple three-part form. The angular sound of the beginning of the work is similar to the limping gait of a fairy-tale character. In the movement of the eighth notes in the middle part one can imagine a fantastic flight, accompanied by the “whistle of the wind”; the “staccato” touch gives the characteristics of the music an ominous whimsicality.

21. “Sweet Dream”

This play is written in the genre of romance lyrics. Every child wants his mother to tell or sing something very pleasant in the evening, then he will have pleasant dreams. “Sweet Dream” is written in three-part form.

To prevent a child’s play from being static and monotonous, you need to teach him to understand the construction of a melodic line, to feel the mutual attraction of sounds within phrases. When working with a student on the melody of the 1st movement, you need to explain to him the nature of the main intonation of the piece (the first two-beat), expressing tender spiritual aspiration. Show the aspiration of the melody towards the sound “E”, and then a slight decline to the half note “A”. Continue to work on developing the melodic line. All dynamic shades Tchaikovsky arranged it himself: the sound gradually increases towards the 6th measure of each of the two sentences, and the main culmination of the entire period is in the second sentence (14th measure). The climax needs to be played not only with a brighter sound, but also wider, as if slightly spacing out the sounds. The meaning of some phrases needs to be explained to the student so that he can catch the changes in the main intonation, which sometimes becomes persistent and energetic, sometimes somewhat sad.

The main climax of “Sweet Dream” is found in the second construction of the middle part. In the middle part of the piece, the melody goes into the lower “cello” register, and therefore should sound especially rich. Then (in measures 22 - 24, 31 - 32) the melody is carried out by two voices: the upper “violin” and the lower “cello”. The main culmination of the middle part contributes to greater relief of the sound of the reprise.

The accompaniment in the play takes place in the middle voice. It should sound very soft and smooth. To do this, it is necessary to teach the left hand part in the extreme parts with both hands: the left legato leads the lower voice, and the right one plays eighth notes with a small touch on the instrument.

The pedal must be taken for each note of the melody; it serves as a means of coloring.

“Sweet Dream” is an excellent material for mastering legato.

22. "The Lark's Song"

“Song of the Lark” - light, clear music, as if ringing in the azure, conveys the feeling of awakening spring nature. For children, a lark is a bird over a field, but for a composer it is a symbol of the flight of his imagination and inspiration. This is the enlightenment of the Hero in the "Children's Album". A return in memory to the morning of life, because the lark sings early in the morning. This is a counterbalance to "Winter Morning". This play is the culmination of the entire cycle. “The Lark's Song” seems to be permeated with “bird singing.” This is a picturesque sketch with a bright and joyful mood, and only in the second part is a touch of sadness heard in the grace of the waltz.

And so, Lark is the composer, singer and creator himself.

The piece is written in a simple three-part form, the accompaniment is chordal, with a supporting voice in the upper voice. The texture of the piece is based on small figures in triplets and grace notes, which are located in the upper register. A continuous chain of grace notes evokes associations with the cheerful chirping of birds.

When working with a student on a positional figure, you need to explain to the student that three sixteenth notes should be directed towards the eighth note, be rhythmically accurate and sound clear, crumbly, and not crumpled.

Grace notes must be taught separately so that they sound very clear and loud.

When working on the left hand part, it is useful to play it legato and then as catchy short chords.

23. “The Organ Grinder Sings”

P.I. Tchaikovsky, remembering his favorite Italy with its organ grinders and street singers, wrote the play “The Organ Grinder Sings,” which was included in the “Children’s Album.” This play is written to the melody of one of the songs sung by a little Italian girl.

“The Organ Grinder Sings” is music picture, where a traveling musician with a barrel organ and a monkey sings his songs while traveling around the world, and for the composer it is himself, traveling in his creations around the world.

The play is written in a simple two-part form in a waltz rhythm, like the “Italian Song”. The melody is light, flows calmly, unhurriedly. In order for a student to play the initial melodic line without breaking or pushing, he needs to show the rise of the sound wave to the note “E”.

In the second part the texture becomes more complex. The melody and accompaniment are transferred to the right hand, and in the left hand, on a sustained bass, a monotonous movement of quarter notes appears (this resembles the uniform movement of an organ grinder’s hand). The student needs to work more on the expressiveness of the melody and the quiet sound of the accompaniment, which does not drown out the melody.

24. "Chorus"

Tchaikovsky's "Children's Album" begins with "Morning Reflection" and ends with the play "Chorale" (in the first edition, both plays had different names - "Morning Prayer" and "In Church"). The music of “Morning Reflection” is filled with a light and serious mood, as if warning that the story about children will take a serious tone. “Chorale” sounds more concentrated, stern, and sad.

Both pieces have much in common: a calm, thoughtful character, a texture with elements of polyphony, an extended period form with a large addition at the tonic organ point. They are also brought together by the similarity of tonalities (G major and E minor). In "Chorale" Tchaikovsky turns to the canon of the evening service. This play sounds like a call to look for “the road to the temple.” Tchaikovsky addresses children with the hope that any difficulties in life can be overcome. You can get out of life's conflicts with the help of close people - the play "Mama", turning to art - "Waltz", in unity with the people - "Kamarinskaya", and, finally, in own creativity- “Song of the Lark.”

The play is written in two-part form. The character of the first part is focused and deep on the earth. Chord texture. You need to work with the student on the harmony of the chords, and to do this, explain to the child that it is necessary to highlight the upper voice and bass in the chords.

In the second part, the chords are written in a high register, and the bass on the tonic organ point (the “G” sound) sounds more intense (symbolizing the inexorably passing time).

The music of this piece is reminiscent of the church canon “Lord, have mercy...” The pedal is delayed (it is advisable to not take it to the bottom).

III. Conclusion.

The subtle semantic connections that exist between the extreme plays of the collection “Morning Prayer” and “In Church” (the titles in the first edition) contribute to the compositional harmony and completeness of the “Children’s Album”. His 24 plays are like a sketch of the colorful impressions of the day.

“Children’s Album” is aimed both at shaping the performer and at nurturing the child’s personality. Works that are understandable for children are guides to “adult” music.

“Children's Album” by P.I. Tchaikovsky is the first Russian piano collection written specifically for children.

"Children's Album" is included in the golden fund of world musical literature for children.

In one of his letters, P.I. Tchaikovsky wrote: “Art is equally capable of touching the soul of both a child and an adult, therefore the path to art and creativity becomes the theme of the “Children's Album.” Through the "Children's Album" we received brilliant examples of plays - both as musical and educational material for children, but also as wise life lessons for all of us.

IV. Literature

1. B. Asafiev Russian music about children and for children // Selected works, vol. IV. M.: Academy of Sciences of the USSR, 1955.

2. P.I. Tchaikovsky Letters to loved ones. Favorites. M,: Muzgiz, 1955.

3. A.D. Alekseev History of piano art M.: Music 1988

4. A. Alshvang P. I. Tchaikovsky - M,: Muzgiz, 1959.

5. G. G. Neuhaus “Notes of a teacher.” M., 1961; 1982.

6. G. Dombaev Creativity P.I. Tchaikovsky. In materials and documents. M.: Muzgiz, 1958.

7. P.I. Tchaikovsky “Children’s Album” - a piano cycle of 24 pieces. Moscow “Music” 1981

P.I. Tchaikovsky "Children's Album"

It is known that Pyotr Ilyich Tchaikovsky loved children very much and understood them well. This is what he says famous phrase that flowers, music and children make up best decoration life. It is not surprising that the children's theme literally permeates all of his work, and the collection of plays “Children's Album” was the first such work in Russia. Later, this cycle was included in the golden fund of essays written specifically for children. This is not just a collection - it is a whole world, a magical country, retold in sounds.

History of creation

Tchaikovsky was inspired by two factors to write a collection of short plays specifically for children. Firstly, they were given an example Robert Schumann. Pyotr Ilyich also wanted to compose a cycle of simple plays, like “Album for Youth,” that children could freely perform.Secondly, to the idea of composing such a work, Tchaikovsky inspired by communication with my nephews. It is known that the composer treated his sister’s children very warmly, often visited them, told different stories about his travels, played for them, and also listened with interest to all their stories.

Tchaikovsky first mentioned his intention to compose a collection of children's plays on February 26, 1878, in a letter to his publisher while in Florence. A month later, the composer begins work on the cycle. On April 30, 1878, during a visit to his sister A.I. Davydova in Kamenka, he writes to P.I. Jurgenson, reporting on his work on the “Children's Album”.

There is no information about the process of composing the cycle; it is known that the composer wrote it quite quickly. About a month later, in his letter to N.F. von Meck Pyotr Ilyich wrote that he had composed all the plays and now it would take another month and a half to put the cycle in order and edit everything.

On June 29, in his letter to the publisher, Tchaikovsky sent the manuscripts of all the works written at that time, including a collection of children's plays.

Researchers suggest that the idea of dedicating the collection to his nephew Volodya Davyvod came to Tchaikovsky after finishing work on the composition. It is known that in the summer of 1878 the composer spent a lot of time with him in Kamenka. There is no dedication in the autograph of the collection, but in his letter to N.F. von Meck Tchaikovsky already talks in detail about the fact that he decided to dedicate the cycle to his nephew, who loves music very much and even promises to become a musician. It is obvious that Tchaikovsky expressed his decision to the publisher during a personal meeting at the end of September, beginning of October 1878.

Interesting Facts

It is known that Tchaikovsky received 240 rubles from the publishing house for his composition. This is exactly the price the composer himself set – 10 rubles for each piece.
Researchers believe that the reason that prompted the composer to start writing a collection of children's plays could be the very vivid impressions of hearing the song of a street singer in Florence. Tchaikovsky even wrote about this incident in a letter to his brother on March 27, 1878. The composer was especially shocked by the performance of such a “non-childish” song by a boy singer, which in his interpretation did not sound as tragic as in the original.

There is another factor that influenced Tchaikovsky’s decision to compose “Children’s Album” - his communication with Kolya Conradi (a pupil of the composer’s brother). It is known that with Kolya and M.P. He spent part of the winter of 1877-1878 with Tchaikovsky. They visited sights together and traveled a lot.
Initially, Tchaikovsky conceived a slightly different order of the plays, which was changed already in the first edition, carried out with his participation.
Despite the fact that the collection was originally intended specifically for children, it has firmly entered the world musical literature and is often performed even professional artists. Suffice it to recall the version of Ya.V. Fliera, which is familiar to many thanks to surviving audio recordings. The versions by M. Pletnev and V. Postnikova are highly artistic examples. Pletnev brings his own vision to the reading of this work. He changes the order of the numbers, putting forward his own version of the dramatic concept of the collection.
Pyotr Ilyich highly appreciated the first edition of his collection, but he still did not like some aspects. Thus, he regretted the appearance of the “Children’s Album”. He wanted the format of the collection to be different, since Volodya (to whom the composition is dedicated) would be very uncomfortable looking at the notes when playing. The composer also had complaints about the illustrations.

In all editions of the Soviet period, the title of the last play, “In the Church,” was specially changed to “Chorus.”
It is interesting that the idea of creating similar collections of miniatures for children was later addressed by such composers as A.S. Arensky, V.I. Rebikov, S.M. Maykapar.
There are a large number of transcriptions children's collection Tchaikovsky for the most different instruments and even orchestras. For example, Vladimir Milman and Vladimir Spivakov made an arrangement for chamber orchestra. Thanks to the efforts of Robert Groslot, an arrangement for chamber orchestra appeared and wind ensemble. There is a score for the “Children’s Album” for a percussion ensemble, which was reworked by Anatoly Ivanov, and a little later, in 2014, an arrangement for string orchestra and percussion instruments, made by composer Dmitry Batin.

The “Children's Album” includes 24 plays with their own individual titles. Program content The collection is built in a certain sequence: morning, afternoon and evening. In addition, the cycle contains several storylines at once.

The first storyline reveals to the listeners images of a child waking up and the beginning of the day.

"Morning Prayer" is an incredibly beautiful, bright, contemplative play that evokes thoughts about God and the soul. Tchaikovsky managed to miraculously convey piano music choir singing. The melody of this piece seems to be woven from living intonations, thanks to its special presentation. The mood of concentration is also conveyed by uniform rhythmic movement, texture of presentation, simple harmonic language and light tonality.

Second play "Winter morning" brings a different mood to the peaceful morning atmosphere. Inclement weather (cold, with blizzards and blizzards) is very accurately conveyed by the alarming and transparently enlightened music that replaces it. The middle part introduces a certain shade of sadness, which further sets off the onset of the reprise.

“Winter Morning” (listen)

Third piece "Horse Game" opens storyline toys and children's room. This short piece conveys the clatter of hooves very accurately thanks to a uniform rhythmic pulsation that brings it closer to a toccata. The image of toy horses helps convey the three-beat meter that sounds in in this case light and lively.

In the play "Mother" The music is very simple, but full of emotional experiences. It is presented in the form of a duet: the lower voice has a warmer timbre, and the upper one has a clear, light timbre. In general, this piece is very harmonious, soft, even the composer chose the size not by chance, since the three-part structure gives the music roundness and softness.

In the play, Tchaikovsky reveals main image with a very clear rhythmic pattern and precise strokes. The composer managed to very accurately convey the clear, almost mechanical movements of the soldiers to the beat of the drummer.

“March of the Wooden Soldiers” (listen)

The following plays (6,7,8,9), forming a small suite, reveal another storyline that tells about a complex, serious mental life small child, feeling everything as keenly as adults.

"Doll Disease" introduces a completely different figurative structure. Sad music conveys the experiences of a little girl who is so overplayed that she takes everything seriously and is very worried about her favorite doll. The musical fabric of the play is interestingly constructed, in which there is no continuous melody. Pauses, as well as plaintive intonations, convey the “sighs” and “moans” of the doll. After a tense climax, everything ends with a "fading" coda.

Play "Doll Funeral" has another subtitle, which was given by the author himself - “In imitation of Schumann.” In its figurative structure, this miniature is very similar to Robert Schumann’s “First Loss” from his “Album for Youth.” The composer took the child’s experiences very seriously, reflecting the little heroine’s genuine feelings.

"Waltz" quite suddenly bursts into the flow of the narrative, replacing sadness and sadness with fun. Why waltz? This dance was one of the most popular and beloved in the 19th century and it was performed not only at magnificent balls, but also at home celebrations. “Waltz” from “Children’s Album” conveys the atmosphere of a home holiday.

"Waltz" (listen)

"New Doll"- this is a continuation of the fun, because the girl is very happy with her new toy. She dances and spins with the new doll. The music very accurately conveys the mood of the little girl, the feeling of delight and joy. The piece resembles a waltz, however, it sounds very fast, the usual 3/4 time signature is doubled in speed.

Fast Polish dance "Mazurka" continues the line of dance miniatures in the collection. But in Tchaikovsky it is more intimate in nature, which is why the first theme of the play is calm and elegiac.

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Discipline: Analysis of a musical work

Analysis of the three-part form of the musical work "New Doll"

1. Information about the composer and his work

Tchaikovsky Pyotr Ilyich (1840-- 1893), composer, conductor, teacher.

Born on May 7, 1840 in a village near the Kama-Votkinsk plant (now the city of Votkinsk, Udmurtia) in the family of a mining engineer. In 1850, the family moved to St. Petersburg, and Tchaikovsky entered the School of Law, from which he graduated in 1859.

He received the rank of titular councilor and a position in the Ministry of Justice. But his love for music turned out to be stronger - in 1862 the young man passed the exams at the then newly opened St. Petersburg Conservatory. In 1863, he left the service, and after graduating with a silver medal from the Conservatory (1866), he was invited to take the position of professor at the Moscow Conservatory.

In 1866, Tchaikovsky wrote the First Symphony ("Winter Dreams"), in 1869 - the opera "The Voevoda" and the fantasy overture "Romeo and Juliet", in 1875 - the famous First Piano Concerto, in 1876 -- Swan Lake ballet".

At the end of the 70s. the composer experienced a severe mental crisis associated with an unsuccessful marriage, and in 1878 he left teaching. Nevertheless, it was in this year that one of his best works was created - the opera “Eugene Onegin” based on the plot of A. S. Pushkin.

The real pinnacle was the opera "The Queen of Spades" (1890), also based on Pushkin's story. In 1891, Tchaikovsky wrote his last opera, Iolanta. He also composed music for ballets: “The Sleeping Beauty”, 1889; "The Nutcracker", 1892. The rise of Tchaikovsky as a symphonist is revealed in his Sixth Symphony (1893).

The composer constantly turned to small forms. He is the author of 100 romances that are pearls vocal lyrics, as well as more than 100 piano pieces (including the cycles "The Seasons", 1876, and "Children's Album", 1878). Tchaikovsky's work was highly appreciated during his lifetime - in 1885 he was elected director of the Russian musical society, in 1892 became a corresponding member of the French Academy fine arts, in 1893 - an honorary doctorate from the University of Cambridge.

Pyotr Ilyich spent the last years of his life in Klin near Moscow, where in 1892 he purchased a house (since 1894 the composer’s museum).

2. Cycle characteristics

The time of creation of the "Children's Album" by P.I. Tchaikovsky.

"Children's Album" by P.I. Tchaikovsky refers to a cycle of piano pieces.

The composer's idea of writing a children's cycle can be dated back to February 1878. Tchaikovsky was traveling abroad. In one of his letters to friends, he reports his desire to create a small collection of easy plays for children to perform. The vacation was completely over in May 1878. Musical numbers interconnected in small microcycles. Tchaikovsky hid the depth of the subtext and the difficult life period under melodic intonations. "Children's Album", the creation of which is connected with the family of the composer's sister, deserves to be called a masterpiece.

Analysis of the plays included in the "Children's Album" by P.I. Tchaikovsky

With extraordinary sensitivity and a subtle understanding of child psychology, the composer reflected in “Children's Album” the life and everyday life of the children of the environment that surrounded him every day. The "Children's Album" contains 24 plays that are not connected by a single theme. All the plays in the cycle are programmatic, each containing a specific plot and living poetic content. The collection captures a wide range of images. This:

paintings of nature - “Winter Morning”, “Song of the Lark”.

children's games - "Game of Horses", "Doll Illness", "Funeral of a Doll", "New Doll", "March of the Wooden Soldiers".

The characters of Russian folk tales - "Nanny's Tale", "Baba Yaga", and Russian folk art - "Russian Song", "A Man Playing the Harmonica", "Kamarinskaya" are vividly depicted.

songs of other nations - “Italian song”, “Old French song”, “German song”, “Neapolitan song”.

The cycle contains elements of figurativeness - "The Organ Grinder Sings" and onomatopoeia - "The Lark's Song".

Tchaikovsky, without resorting to simplification, depicts the rich inner world of a child in the plays “Morning Reflection”, “Sweet Dream” and “Chorus”.

Plays included in the "Children's Album":

1. Morning prayer

2.Winter morning

3.Horse game

5.March of the wooden soldiers

6.Doll disease

7.Doll funeral

8.New doll

9.Waltz10.Mazurka

11.Russian song

12. A man plays the harmonica

13.Kamarinskaya

15. Italian song

16.An old French song

17.German song

18.Neapolitan song

19. Nanny's tale

20.Baba Yaga

21.Sweet Dream

22.Song of the Lark

23. The organ grinder sings

24.In the church

3. Holistic musical theoretical analysis of the work being analyzed

musical piece by Tchaikovsky composer

The character and programming of the play "New Doll".

The play "New Doll" is a subtle psychological sketch - a girl's joy over a wonderful gift - a new doll.

The play is very joyful, fast-paced and flighty. The girl is so happy about her new toy! Together with her doll, she spins, dances and probably feels very happy. The performing means are rhythmic and textural monotony: in the extreme parts of the play there is repetition of a rhythmic figure - a quarter and an eighth, and in the middle - two eighths separated by pauses. In the extreme parts, the development and variety of wonderful expressiveness, flight, and soft aspiration of the melody will be helped by the dynamics and subtle articulatory instructions set by the author. These parts are performed as if “in one breath”, achieving gradual dynamics.

In the middle part of the piece, the “breathing” melody can be traced through the flexibility of intonation and the continuity of development of the music. In the dynamics, accurately presented by the author, the climax occurs at 24-25 bars. Without changing the general joyful mood, pauses appear in the melody between short motifs of two sounds, conveying a kind of rapid breathing. By the end of the middle part the excitement subsides; the music of the first movement returns.

"New Doll" is a program play. Its title “programs” the mood and content; there is already an idea of what to expect before listening to the first sounds of the piece.

Musical analysis of the play.

You can hear emotional feelings in the melody, the girl’s joy for her new doll.

The key of the work is Bb-dur (B b major), with a key of 2 signs-B? mi?

The size of the work is 3/8

Three-part play form

Tempo-Allegro (coming soon)

3) Structural analysis period.

The play has a period of non-square structure.

Thematically, parts 1 and 3 are similar, because part 3 is a repeat of part 1. Part 2 is the middle of the entire play (the climax).

The main key of the play "New Doll" is Bb-dur. During the performance of the work, this tonality undergoes virtually no changes caused by deviations and modulations.

The work has a rhythmic motif. A characteristic rhythmic formula, an abstract aspect of the melody.

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