Autonomous educational institution

Additional education for children

"Children's Art School"

Raduzhny

METHODOLOGICAL DEVELOPMENT

“BASIC ISSUES IN TEACHING PLAYING BIND INSTRUMENTS”

P lecturer Mazurkevich A.L.

PLAN.

Introduction.

1. Development of performing breathing:

A) types of breathing;

B) development of breathing;

C) the role of inhalation and exhalation;

D) the role of breathing in musical phraseology;

2. Achieving purity of intonation.

3. Setting up the tool.

4. Vibrato on wind instruments.

5. Features of the execution of strokes and methods of working on them.

6. Development of finger technique.

7. Developing a sense of tempo stability.

8. Development of good musical memory.

9. Development of sight reading skills.

10. Conclusion.

11. Used Books.

Introduction

The most important component of learning to play a musical instrument is the availability of modern information and methodological support. Methodology as a set of methods and techniques for performing some kind of work in relation to music pedagogy is a doctrine of methods of teaching a particular subject. This applied branch of knowledge is formed on the basis of analysis and generalization of the experience of the best domestic and foreign teachers, musicians and performers; the emphasis is on the study of patterns and techniques individual training. Mastery of the technique is important not only for teachers; along with other musical theoretical disciplines, the technique contributes to the education of the general musical culture, broadens the horizons of performers. Consequently, the teacher-musician is faced with the task of equipping the student with methodological skills that will help him become a competent specialist.

One of the fundamental pedagogical tasks in the field musical art stage is the development of musicality, including a complex of concepts such as musical ear, musical rhythm and musical memory.

Different teachers set different guidelines when learning to play a musical instrument: some are aimed at improving the student’s technique, while at the same time taking care of general musical training, others, on the contrary, are primarily focused on meaningful musical performance.

However, in general, the domestic school of wind performance is aimed at the comprehensive development of the student, combining high technical skill and musicality in revealing the artistic image.

Equally important is the formation of a stable skill in reading notes from a sheet and experience in ensemble performance.

The skill of a teacher is acquired as a result of a careful study of the experience available in a given field and a critical assessment of it. However, copying other people's pedagogical techniques without a critical attitude towards them also cannot give good results. The methodology must constantly adapt and vary, taking into account the individual characteristics of both the teacher and his student. If the teacher has mastered the technology and teaching techniques, knows how to captivate the student, evoke vivid images in his mind, and creatively choose the appropriate one for a particular case. pedagogical technique– success in academic work will be noticeable.

We cannot talk about isolated development individual elements performing skills. If performing skills are not constantly associated with the expressive transmission of images, feelings, thoughts and moods, then virtuoso technique will turn out to be formal and practically unnecessary. From the very beginning, the student must develop the ability to penetrate into the essence musical image and the composer’s intention, the ability to understand the musical material, using various means of expression and the right measure of movement and dynamics during performance.

In cultivating an emotionally active attitude towards the piece being performed, the teacher starts from the musical material, the degree of talent of the student and special teaching tools, which include oral storytelling, explanation, comparison, demonstration of musical material on an instrument, etc. The main goal of the lesson should be the content, depth and emotionality of the performance. Every nuance must be understood and felt.

The development of a performer’s musical culture is impossible without the formation musical thinking self-initiated piece of music. The soul opens up, accepting spiritual experience that belongs to other people, humanity, an active form of interaction with art and communication occurs through

art.

The performance of any music can be mechanically indifferent, or it can be deeply soulful. Understanding a piece of music is a thoughtful search for meaning, the meaning of the sounding intonations. Understanding the meaning of a piece of music, the student turns to the baggage of his own memories, associations, etc.

The productivity of the performer's musical thinking is manifested in the knowledge of artistic meaning and content expressed in acoustic material forms. The student’s musical and artistic thinking develops consistently with the introduction of increasingly complex musical material into the learning process.

Improving performing skills in the field of pop music can be carried out in several directions. One of these areas – the technical equipment of the performer – includes the following components:

a) lip technique;

b) breathing technique;

c) language technique;

d) finger technique.

Lip technique refers to the strength and flexibility of the lip muscles, that is, their endurance and mobility.

Breathing technique presupposes the development of the respiratory apparatus of a wind player, the ability to play on a support, inhale quickly, in a timely manner and in sufficient volume, and exhale in a varied manner corresponding to the nature of the music.

The technique of the tongue is characterized by its mobility and clarity when performing any attack, flexibility in the formation of an exhaled stream of air.

Finger technique means their well-developed ability for quick, clear, both individual and coordinated actions, as well as the musician’s ability to use a variety of fingering options, depending on the complexity of the texture of the musical work and the requirements of intonation.

Working on the development of performing technique is the process of freeing the performer from everything superfluous - from unnecessary movements, stiffness, tension, etc. Sometimes the reasons for technical failures are improperly developed performing skills at the time, unnecessary movements, and sometimes tightness and stiffness of the performing apparatus. The teacher must help the student understand these reasons and consistently overcome them.

Technical performance problems differ somewhat among performers on different wind instruments. For woodwind instrument players, finger technique is of utmost importance, while for brass instrument players, the labial apparatus often plays a decisive role.

True technical mastery can only be achieved when a musician knows how to coordinate all the elements of technique into a single performing process. It is possible to achieve a comprehensive development of performing technique only with the ability to isolate each of its components and work on its development.

Long-term pedagogical and performing practice of playing wind instruments has formed a system of daily lessons for a wind musician, built on material designed for the comprehensive development of his performing apparatus and technique (training material, including playing sounds of long duration, scales and arpeggios, exercises and etudes).

Development of performing breathing

In the process of learning to play wind instruments, great importance should be given to the development of breathing technique, which requires systematic training. From correct breathing The purity of intonation, stability and expressiveness of sound depend. When playing wind instruments, the functions of inhalation and exhalation change radically. If during normal breathing, inhalation and exhalation are approximately equal in time, then when playing a wind instrument, exhalation is often much longer than inhalation. In addition, the performer's exhalation is always active.

The art of performing breathing consists not only in the ability to change the strength and direction of the exhaled air stream, but also in the ability to produce a quick, full breath, significantly exceeding the volume of inhalation during the normal respiratory process.

To extract sounds of a certain height, dynamics, character, timbre, duration, that is, to activate the sound generator and the sounding column of air, the performer on a wind instrument needs to exhale intensely. The degree of exhalation intensity is determined by the nature of the music and the specific sound production on a particular wind instrument.

Performers on wind instruments adopted not the thoracic or diaphragmatic types of breathing, but the thoraco-abdominal, mixed type of breathing as the most rational and creating the most favorable conditions for inhalation and exhalation during playing.

With the chest type of breathing, the emphasis of inhalation falls on the middle part of the chest, the lower parts of the chest are weakly involved in the inhalation process, and the diaphragm is almost not involved. With the abdominal or diaphragmatic type of breathing, the emphasis falls on the work of the strongest and most active muscle - the diaphragm. However, the volume of the lungs during such breathing is incomplete, since the middle and upper parts of the chest participate weakly in the inhalation process.

With the thoraco-abdominal (mixed) type of breathing, due to the combined action of the diaphragm and all the muscles of the chest, the greatest inhalation effect is achieved. However, when playing a wind instrument, one cannot deny the importance and necessity of using wind players in performing practice. different types breathing - thoracic and diaphragmatic (abdominal): types of breathing are determined by the nature of the

music.

The playing conditions oblige the wind player to take frequent, full and quick breaths. To ensure this condition, musicians resort to participating during inhalation not only from the nose, as during normal inhalation, but also from the mouth. The degree of participation of the mouth at the moment of inhalation is determined by the specifics of sound production on a particular wind instrument. So, for example, on a trumpet - an instrument with a narrow bore that requires not so much a large volume of air supply as the intensity and concentration of the exhaled air stream - the main load when inhaling falls on the nose. The mouth performs only auxiliary functions here, and only in exceptional cases when a quick, full breath is required. On wide-bore instruments (trombone, tuba), where the fullness of inhalation is always more voluminous than in instruments with a narrow bore and exhalation is not so concentrated, the activity of the mouth in the inhalation process is higher.

When playing woodwind instruments, most of the air inhaled passes through the mouth, and only a small part through the nose.

The degree of activity of participation in the process of inhalation through the mouth or nose also depends on the musical phrase and, in connection with this, on the types of breathing used. If during a diaphragmatic inhalation the main part of the air is inhaled through the mouth, during a thoraco-abdominal inhalation through the mouth and nose, then during a thoracic inhalation the active role belongs to the nose.

The listener may be annoyed by the performer's playing only because he inhales noisily and unaesthetically. Therefore, inhaling through the nose is more silent, it is closer to the natural breathing process, and inhaling through the nose is much more hygienic.

But the decisive role in performance belongs to exhalation, since it is directly connected with the artistic side of the performing process. The exhalation should be varied and flexible: sometimes stormy and impetuous, sometimes barely noticeable and smooth, sometimes intensifying and fading, sometimes accelerating and slowing down, etc.

Rozanov S.V. emphasized the importance for the performer to “play on support”, or on “supported” breathing. On all copper and wooden instruments With the exception of the flute, increased exhalation while the tension of the lip muscles does not change causes a slight decrease in sound - increased exhalation causes larger parts of the vibrators that generate sound to vibrate. Instruments with reed reeds (oboe, clarinet, bassoon) will vibrate large sections of the reed. Pressing the reed harder with your lips will shorten the length of its vibrating part and prevent the sound from falling.

When performing on a wind instrument, the exhalation must have the required quality: sometimes uniform, sometimes gradually accelerated, sometimes gradually slowed down, depending on the dynamic nuances. Increasing sound is associated with acceleration of exhalation, weakening is associated with gradual deceleration; with a gradual and uniform exhalation, a sound of even strength is obtained. This way, a wide variety of sound nuances are achieved.

You need to develop breathing gradually: from individual, not too long sounds and small musical phrases with uniform dynamic sound and minimization of intonation errors, you should move on to further development performing breathing on material with longer sounds and phrases, with a gradual increase and decrease in exhalation. It is necessary to constantly monitor the quality of the performer's exhalation by ear. To develop performing breathing skills, pedagogical practice widely uses the performance of scales in slow motion using various nuances. The completion of the development of breathing technique is achieved by working on specially selected musical material, in which the performance of existing dynamic shades requires a certain skill.

Special attention should be paid to the development of the muscles of the lips and face, which must be taken into account when selecting exercises designed to develop breathing. For some performers, when exhaling, part of the air escapes through the nose, which leads to a loss of timbre colors of the sound, so the teacher must promptly notice and correct this deficiency.

Not only the dynamic side of performance and sound quality depend on breathing. With the help of breathing, musical phrases are separated from one another, therefore, it is necessary to draw the student’s attention to the role of breathing in musical phraseology. The correct distribution of breathing change points is of great importance for the expressiveness of performance: the teacher must, based on an analysis of the structure of the work and take into account

the student’s performing ability to indicate exactly the moments where he should take a breath. The student should also participate in this analysis, gradually learning to independently understand the text. Moments of inhalation cannot be placed in random places; the listener should never feel that the performer needs to take a breath. There are very long musical phrases that cannot be performed in one breath. In this case, you should find a place where you can take the breath without violating the meaning of the musical phrase. Incorrect distribution of inhalation points can lead to a distortion of the meaning of a musical phrase. However, the league should not serve as an obstacle to breathing, since it only indicates the need for a smooth and coherent execution.

The sound does not stop immediately; some kind of a short time human hearing retains sound. This makes it possible, with a certain skill, to take a breath at some points located under the league. Performing with intense breathing produces a heavy, unpleasant impression.

The student's tendency to inhale predominantly on the bar line should be combated. The student must learn that the bar line is only a metric boundary and does not always coincide with the beginning or end of a musical phrase.

It is possible to develop a comprehensive breathing technique and learn to use it fully as a means of musical expressiveness only after mastering a sufficiently rich musical repertoire.

An indispensable condition for accurate intonation is that the performer has a well-developed ear for music. Inaccurate tuning of wind instruments, which necessitates constant “corrections” of the pitch of individual sounds by correspondingly changing the tension of the lips, requires increased auditory sensitivity to intonation. With the help of special exercises, a brass player can improve his relative hearing so much that it acquires the qualities absolute pitch. In particular, the teacher must constantly pay attention to the development of all components of musical ear and, above all, internal, melodic hearing. Most often, this is done by performing from memory previously known or heard again musical passages, transposing familiar melodies into other keys, improvisation, and composing music. The teacher specifically directs attention to expanding the artistic impressions of students through the demonstration of musical works, both performed by the teacher himself or students, and by playing music using technical means. Moreover, it is useful to combine the demonstration of music with its observation of the notes.

Another feature of the scale of wind instruments is its certain timbre diversity.

Sensitivity to the timbre features of sound develops as a result of practical musical activity and constant focus on the timbre of sound. Memorizing and determining the pitch of individual sounds of a wind instrument is facilitated by timbre features and differences, which leads to the fact that a young performer relatively easily develops the ability to determine and imagine the absolute pitch of the sounds of his instrument. Often this ability develops on the basis of the connection between the representation of sound and motor sensations.

Sometimes a performer, having sufficient hearing, plays out of tune due to the inability to listen to the music being performed. The performer must distribute his attention in such a way that he can also clearly hear the music accompanying his performance and find support for accurate intonation in the sounding harmony.

That is, in the development of a student’s pitch hearing, the following algorithm is advisable: mastering the characteristics of the timbre and the nature of the sounds of the instrument he plays; an exercise in recognizing the individual sounds of your instrument, imagining the pitch of various sounds with the instrument in your hands prepared for playing, without touching it with your lips; representation of the pitch of sounds in the absence of an instrument. Having acquired the skills to accurately recognize all the sounds of his instrument, the student should focus on determining the tonality of a piece of music, as well as the pitch of individual sounds of other wind instruments and piano.

Achieving purity of intonation.

Achieving purity of intonation when playing wind instruments is one of the most difficult tasks in performing practice. Consequently, the most important aspect of musical education is constant attention to the purity of intonation during performance, to the tonality of the musical works being listened to, and modal functions. Only constant monitoring of the accuracy of intonation, drawing the student’s attention to every false sound can create in him a critical attitude towards the slightest inaccuracy. This, in turn, enhances the adaptation of the lips and breathing to accurate intonation.

You can practice precise intonation on any material; it is useful to perform arpeggios, triads and other chords in slow motion. Best results are achieved when working on a piece of music accompanied by a piano and in an ensemble. Solfegging becomes very useful, as well as exercises in determining chords by ear, and sight reading of gradually more complex musical material.

In order to intonate impeccably cleanly, a musician’s fine hearing alone is not enough; he also needs to know his instrument well, and in particular, the patterns of tuning in wooden and copper groups. The performer's knowledge of ways to achieve purity of tuning and methods of working on intonation will dramatically increase the artistic level of performance. It is necessary to take into account some design features of wind instruments that influence the formation of intonation structure.

On wind instruments, even of the highest quality, when the performer does not follow the intonation, pitch deviations are noticeable. Even the most modern wind instruments produce deviations of some sounds from normal tuning. Therefore, the student should be explained the features of achieving a precisely fixed sound on wind instruments.

In addition to the design features of the valve-piston mechanism, other factors associated with the conical-cylindrical profile of the main channel of brass instruments also have some impact on the tuning. This structural feature of the body of these instruments causes inaccurate sounding of individual steps of the main natural scale.

The design of woodwind instruments also requires maximum precision in theoretical calculations related not only to the scale length of the instrument, but also to the diameter and shape of the sound holes and their location on the instrument.

On wind instruments, the transition from one stage of the chromatic scale to another occurs as a result of changes in the pressure of the air stream entering the instrument and the length of the air column enclosed in its channel. This is achieved by regulating the tension of the labial muscles and the exhaled air stream, as well as by using appropriate fingering.

Consequently, intonation deviations of individual sounds from the tuning norm can be eliminated or significantly corrected with the help of the labial apparatus. Sometimes, along with the volume, the pitch of the sound also changes, which indicates the performer’s inattention or weakness of his labial muscles. Some performers on brass and reed wind instruments lower the sound when playing crescendo, forte and fortissimo, and raise it when playing diminuendo, piano and pianissimo. But with careful auditory control, you can use the labial apparatus to maintain the pitch of a given sound in various nuances.

In addition to the additional and auxiliary fingerings used on all wind instruments, on some of them it is possible to use other methods of changing the pitch of the sound. To increase the sound, oboe and bassoon players cover the reed with their lips less; to lower the sound, they increase the coverage of the reed. To enhance muted sounds, horn players insert their right hand into the bell deeply and tightly; to lower them, the depth of insertion of the hand into the bell is reduced. The above methods should be used with caution, as this may degrade the timbre of the sound.

In order to achieve purity of intonation on wind instruments, the performer must systematically develop his labial apparatus, have a good knowledge of the intonation features of his instrument, additional and auxiliary fingerings, and skillfully apply them.

It is known that the pitch of the sound taken on any of the wind instruments is influenced by the degree of tension of the player’s lips and the force of the air stream sent into the instrument. The better a performer’s ear for music, lip apparatus and breathing technique are developed, the more intonationally stable and pure his playing will be. Therefore, work to achieve purity of intonation should be carried out on material that promotes

uniform development of all elements of performing technique.

To achieve this goal, exercises based on sounds of long duration are very favorable. They give the performer the opportunity to: a) control the height, stability of timbre, and the density of dynamic changes of each sound produced; b) strengthen the endurance of the labial apparatus muscles; c) develop performing breathing, achieving complete inhalation and gradual and even exhalation.

Such exercises help the performer develop coordination of the actions of the labial apparatus and breathing when producing sounds of different pitches. The skill of preparing the labial apparatus should be closely related to the ability to maintain accurate intonation of the sound during its filing.

Some teachers believe that sounds of long duration should be played in a diatonic or chromatic sequence, others recommend performing these sounds in the form of a series of arpeggios of a certain mode-harmonic sequence.

When playing exercises in arpeggios, their modal organization provides the necessary conditions for auditory control over each sound produced, and the alternation of sounds of different registers contributes to the strengthening and uniform development of the labial apparatus throughout the entire range. After mastering the skills of pure intonation of triads, you can move on to mastering dissonant chords.

At the same time, the performer must achieve a clear beginning of the sound, stability of intonation, evenness of nuance and timbre coloring of the sound throughout its entire duration, and also ensure that the sound ends at the moment chosen by the performer. As you master the sounds in these nuances, you can move on to more complex nuanced sequences (pp PP; ff > PP sf

A special direction of pedagogical efforts should be the development of lip technique, on which the beauty of sound and intonation accuracy depend. The lips of a wind instrument performer must be able to withstand significant and prolonged tension and, in addition, quickly change the degree of this tension depending on the height and strength of the sound produced. While low and medium sounds require little tension, high sounds require strength and endurance of the lips, which can only be developed through long and systematic training. Agility, the ability to instantly and accurately achieve the degree of tension necessary to produce a sound of the required height, is a factor in performing skill. But excessive haste in this can lead to undesirable results: hissing sounds and dull sound appear. You should select musical material in which the expansion of the range both up and down will be quite gradual; Scale exercises should be actively used, as well as exercises based on chords in various combinations and scales performed with broken thirds and sixths. When the lips and associated facial muscles are sufficiently developed, lip technique should be supported by exercises with a wide range of changes in lip tension.

In order for the sound to be impeccable in purity of intonation and satisfactory in timbre quality, it is necessary to accurately match the degree of tension of the lips to the force of exhalation. A degree of tension in the facial and respiratory muscles is required that will ensure intonation accuracy and sound quality.

The degree of mobility and endurance of the lips is inextricably linked to their position on the mouthpiece. For some performers, the exhaled stream of air does not come out in the center, but somewhat to the side of the middle of the lips. Taking into account the characteristics of the lips when placing the mouthpiece will allow the performer to achieve best sound and high lip technique. The objective rules of staging must correspond to the subjective feelings of the performer, the slightest changes of which are always associated with changes in the nature and quality of sound.

New sound quality can only appear as a result of long-term and systematic exercises, in particular when playing music in at a slow pace. In this case, the performer can focus his attention on each sound and make appropriate adjustments in the position of the lips, in breathing and the degree of tension of the facial muscles.

It is not always correct to judge that the sound of a wind instrument is influenced by the volume and shape of the oral cavity, since in the performing process of a wind musician, neither the oral cavity nor the larynx are resonators, which, in particular, is proven in the work of N. Volkov “ Experimental study of some factors in the process of sound formation (on reed wind instruments).”

Practice shows that the greatest intonation errors are observed in performers who have poor sound timbre when playing the instrument. A sharp, loud sound that is not typical for this instrument produces an unpleasant impression and evokes a feeling of falsehood. The wind player is obliged to use additional and auxiliary fingerings in scales, etudes, exercises and pieces, achieving an even sound of the instrument in all registers, regardless of the type of fingering.

An important means for developing pure intonation skills is playing in an ensemble. It develops the musician’s ability to hear and determine the role of his part and perceive the sound as a whole, and also obliges each performer to cultivate the ability to equate the sound of his instrument with the overall sonority.

In achieving purity of intonation, working on pieces, etudes, scales and various exercises at a slow tempo brings great benefit. It makes it possible to more clearly understand your performance shortcomings, analyze the cause of their occurrence, and check the effectiveness of the means chosen to correct certain errors.

Practice shows that the structure of wind instruments is significantly influenced by temperature conditions, methods of general tuning of the instrument and its individual registers, the condition of the reed and mouthpiece, manufacturing defects, violation of operating rules and some other circumstances.

All wind instruments tend to decrease in pitch when cooled, and tend to rise when warmed up. Temperature also affects the wind instrument while playing. environment, and the temperature of the air exhaled by the performer. As a result, a certain operating temperature state of the instrument itself is created, which is most favorable for tuning. Adjustment is also necessary during the playing process, when the overall tuning of the instrument may increase or (more rarely) decrease. In this case, the performer must change the instrument's tuning accordingly.

Tool setup.

A method for correcting inaccuracies in instrument tuning through the interaction of lip tension and breathing is possible in cases where the deviation of the pitch from the norm is insignificant. When the inaccuracy is so great that the performer cannot overcome it by these means, it is necessary to eliminate the design flaws of the instrument.

Wind instruments sometimes have defects that arose during their manufacture or repair, as well as as a result of violations of the rules of their operation. These include, first of all, non-compliance with the established standard for the length of the crowns of the lead tube or mouthpiece, the diameter of the sound holes in woodwind instruments, the discrepancy between the “pads” and the valve cups, as well as too small or large opening of the sound holes, the formation of dents on brass instruments and sediments in their channel. These defects negatively affect the tuning of instruments and change the pitch of individual sounds. Most of these defects can be eliminated by the performers themselves.

However, even with the most appropriate performance, performance on an instrument of the highest quality can still be out of tune. Sometimes the reason for the false sound is the student’s inability to listen to the music being played. The performer must distribute his attention in such a way that he can clearly hear both his performance and the accompanying music, and find support for accurate intonation in the sounding harmony.

Considering pure intonation to be absolutely mandatory for every musician, this quality should be developed in the student from the very first stages of training. Only constant monitoring of the accuracy of intonation, drawing the student’s attention to every false sound can create in the student a critical attitude towards the slightest inaccuracy. This, in turn, enhances the adaptation of the lips and breathing to accurate intonation.

It is not advisable to create special exercises for developing accurate intonation. You can practice intonation on any material. All you need is attention and keen ear for music.

When developing purity of intonation in beginners, you should use more exercises and plays in which every imprecise sound is clearly visible. Playing arpeggios, triads and other chords in slow motion is very useful. When working on tuning, you need to take into account the properties of intonation of intervals. In practice, the following phenomenon is observed: large intervals are usually performed with a tendency for the upper sound to decrease, while small intervals tend to increase. Therefore, when doing any exercises, you need to require students to perform the upper sound slightly higher in a large interval, and lower in a small interval. Accordingly, if the main sound of the interval is the upper one, then in large intervals the lower sound should be performed somewhat lower, in small intervals – higher. Thus, large intervals should “expand” a little, and small ones should “narrow.” The same applies to increased and decreased intervals.

Vibrato on wind instruments

The problem of pure intonation is often related to the problem of vibrato on wind instruments. Vibrato on wind instruments is a periodic pulsation of exhalation, leading to changes in pitch.

For some performers, natural good vibrato is obtained without much preparatory training; for others, it has the character of an unpleasant trembling of the sound, which must be combated. It is necessary to require from young performer completely smooth sound for a long time, so that the small rattling vibrato disappears.

Moderate mid-frequency vibrato on a wind instrument creates the impression of a warm, soulful sound, it improves the quality of timbre, and too frequent vibrato gives the sound an unstable character. A player who plays a wind instrument should use vibrato sparingly: the continuously trembling sound of a wind instrument quickly becomes boring.

One way to vibrato is to vibrate the instrument with your hand, as some trumpet players do. Horn players sometimes vibrate by moving their right hand in the bell of the instrument. Another technique consists of periodic weakening and strengthening of exhalation, created, according to some performers and teachers, by successive narrowing and widening of the glottis.

Vibrato exercises are done on a slow, beautiful cantilena. It is useful to listen to performers who have good vibrato, as well as to use recordings of masters who master this technique to a high degree. Thus, performers on wind instruments have quite ample opportunities In achieving purity of structure and intonation, you just need to be able to use certain techniques in a timely and correct manner.

Features of the execution of strokes and methods of working on them

In performance technology special meaning has the execution of strokes. The term "stroke" comes from German word strich (bar, line) and is related in meaning to German verb streichen (lead, stroke, extend). The strokes represent characteristic techniques extracting, maintaining and connecting sounds subordinate to the content of a musical work. The problem of executive touches is quite complex in

the strength of its expressive, semantic and technological components.

The expressive and semantic meaning of the performing strokes lies, first of all, in the fact that they are integral part articulation, that is, continuous or separate “pronunciation” of sounds during the game. Any grouping of notes in a musical phrase can be “pronounced” by the performer in different ways, and this will significantly change its semantic meaning.

Strokes are organically related to the peculiarities of musical phrasing. The direct connection between strokes and musical phrasing is clearly demonstrated in the legato stroke. Leagues displayed in notes can have a phrasing and shading meaning. In many cases, the meaning of these leagues coincides, and then ideal conditions are created for expressive phrasing. However, often phrasing leagues combine phrases that are too large and then performers are forced to replace them with strokes.

The expressive meaning of strokes is also closely related to dynamics and agogics, since changes in the strength of sound and tempo usually change the shades of the strokes.

When playing wind instruments, a change in sound volume is accompanied by a natural change in the nature of the sound attack and causes a change in line shades (for example, staccato turns into detache).

Like dynamics, strokes in their graphic expression do not precisely determine the nature of the musical phrase or passage being performed. The line symbols indicated in the musical text are not always final, so performers are required to be able to supplement or clarify them in accordance with the content and style of the music. An execution that does not use colors achieved through various strokes produces a dull, monotonous impression. The correct selection of line shades has a great artistic value and serves as an indicator of the good taste and musical culture of the performers.

In playing wind instruments, the technique of strokes is ensured by changing the speed of the tongue when attacking the sound, varying the duration and intensity of exhalation, as well as the corresponding “restructuring” of the player’s labial apparatus.

In the practice of playing wind instruments, strokes often referred to certain types of rhythm (for example, dotted rhythm) or dynamic shades, and it is easy to see that there were and still are some ambiguities on this issue.

One of the first and most significant attempts to systematize the issue of strokes when playing wind instruments was made in the 30s. outstanding Soviet performer and teacher V. Blazhevich.

In his methodological works “School for sliding trombone” and “School for collective playing of wind instruments,” V. Blazhevich outlined in detail his views on the essence of various sound production techniques that deserve serious attention.

Blazhevich V. stated the possibility of using the following types of attacks when playing wind instruments:

a) attack without pushing the tongue;

b) soft attack (portamento);

c) attack non legato;

G) sound attack(detache);

e) accentuated attack (sforzando);

f) heavy attack (pesante);

g) short staccato (spiccato);

h) abrupt staccato (secco) and staccatissimo;

j) double staccato;

l) triple staccato.

Developing and systematizing V. Blazhevich’s views on the strokes of wind instruments, his student B. Grigoriev in his “School of Trombone Playing” divided the strokes into three groups:

a) hard attack group (detache, pesante, marcato);

b) group of shortened attack (spiccato, secco, staccatissimo);

c) soft attack group (non legato, tenuto, portamento).

This systematization ensures that the strokes are closely related to the attack of the sound.

In the textbooks of Professor N. Platonov “School of Playing the Flute” and “Methods of Teaching Playing Wind Instruments” the following strokes are considered: legato, staccato, portamento.

However, when playing wind instruments, the concepts of “stroke” and “sound attack” are not identical, although they are very closely related. The sound attack is only the initial moment of sound extraction. In accordance with the different nature of music, it is conventionally accepted to distinguish between two most characteristic shades of attack: a “hard” attack and a “soft” attack of sound.

A “hard” attack of sound is characterized by an energetic push of the tongue and an increased pressure of the exhaled stream of air. In the practice of playing and learning wind instruments, it is usually associated with the pronunciation of the syllables this or that. A “soft” attack of sound is carried out with the help of a softened push of the tongue, which is calmly pushed back from the lips, which is usually associated with the pronunciation of the syllables du or yes. The quality of the attack of the sound, that is, its beginning, is extremely important for performers on wind instruments, since it largely determines the nature of the performance of various strokes. A stroke is a broader concept, since the attack of sound is only an integral part of the stroke. A stroke is a performance technique that combines a certain nature of extracting, leading and connecting sounds, that is, it includes the entire duration of the sound, from the beginning of the sound to its end.

When playing wind instruments, the following strokes can be used:

1. Detache - a performance technique characterized by a distinct (but not sharp) push of the tongue when attacking individual sounds and their sufficiently full extent, which is achieved through a uniform and smooth supply of exhaled air. In musical notation, it usually does not have any special designations, which draws the performer’s attention to the need to fully maintain the duration of the sound.

2. Legato - a technique of coherent execution of sounds, in which the tongue is involved only in the reproduction of the first sound; the remaining sounds are performed without the participation of the tongue, with the help of coordinated actions of the breathing apparatus, fingers and lips of the player.

3. Staccato - a performance technique characterized by the extraction of abrupt sounds. It is achieved with the help of quick thrusts of the tongue, regulating the beginning and cessation of the movement of the exhaled stream of air.

A variation of staccato is staccatissimo - the technique of performing individual, maximally abrupt sounds.

4. Marcato - a technique for performing individual, emphatically strong (accented) sounds. It is carried out using a sharp, activated push of the tongue during an attack and an energetic exhalation.

5. Non legato - a method of disjointed, somewhat softened execution of sounds. It is achieved through a softened push of the tongue, which slightly interrupts the movement of the exhaled stream of air, forming small pauses between sounds.

6. Portato - a technique for performing softly emphasized, joined and fully sustained sounds. It is carried out using extremely soft pushes of the tongue, almost without interrupting the movement of the exhaled stream of air.

In addition to these performance techniques, in the practice of playing some instruments (flute, cornet, trumpet, horn, trombone and bassoon), specific strokes are used - double and triple staccato - a technique for performing abrupt sounds quickly following each other. This technique is based on regulating the flow of exhaled air into the instrument, carried out alternately by the front end of the tongue and its back. The practical implementation of this technique is associated with the pronunciation of the syllables: tu-ku or ta-ka.

Triple staccato differs from double staccato only in that in this case not two, but three syllables are pronounced (tu-tu-ku or ta-ta-ka). This technique is used mainly by performers on brass instruments in cases where it is necessary to perform a triple alternation of sounds (triplets, sextuplets, etc.) at a fast pace.

In performing practice, there are often cases of erroneous classification of some sound production techniques, tenuto and pesante, as strokes. The musical term tenuto (sustained) means the need to fully maintain the duration of the sound. It does not form an independent stroke, since the technique for performing this technique is no different from the detache stroke. The designation tenuto usually serves as a reminder of the need to fully endure a given sound. It is indicated in musical notation by the word tenuto, and sometimes by a dash.

The term pesante (heavy, heavy) denotes the technique of playing “heavy” sounds, which is especially common in the practice of playing brass instruments (trumpet, trombone, tuba, etc.). It also does not belong to the number of strokes, since it indicates only the required nature of execution; the technical basis for performing this technique is again the detache stroke. In musical notation, this performance technique is marked with the word pesante.

When choosing strokes, the performer must be guided by the author's instructions and follow them exactly. In those cases where the author's designations for strokes are missing, the performer must select the appropriate strokes himself. However, this must be done skillfully so as not to violate the semantic content of the music being performed.

To achieve clarity in the occurrence of each sound, it is necessary that the beginning of exhalation be completely definite, and each sound, upon its occurrence, immediately receives the required degree of tension. The tongue, acting as a valve, opens and stops the access of air into the instrument, regulates not only the duration of individual sounds, but also the nature of the strokes. The material for training in the execution of strokes is the systematic play of scales and arpeggios in different strokes, as well as special etudes. In developing the technique of performing abrupt sounds, very careful observation of the exact coincidence of the movements of the tongue and fingers is necessary so that no extraneous sounds appear. The skill of performing various strokes requires systematic development and improvement.

The initial introduction to strokes begins with detache, since this stroke is very important when performing on all wind instruments. Work on detache for performers on wind instruments is very important: it helps to develop a clear and clear attack of sound, an even supply of the exhaled air stream and contributes to the formation of a full, beautiful sound. When performing detache, the musician must pay special attention to ensuring that the energetic push of the tongue during the attack and the beginning of the exit are carried out strictly simultaneously. You should also strive to fully preserve the duration of sounds: sometimes performers shorten sounds. A wide cantilena, genuine “singing” on the instrument, mastering a clear and “sounding” technique are associated with the constant use of the correct detache. The stroke is the foundation for successfully mastering such playing techniques as: marcato, tenuto, etc. As exercises for mastering the detache stroke, it is recommended to use the performance of scales and arpeggios in slow motion.

The second step in mastering strokes is working on legato. This touch on almost all instruments (except trombone) is quite easy to master, but requires compliance with a number of conditions. It is necessary to ensure that exhalation and the transition from sound to sound are made as smoothly as possible, without jolts; the so-called “squeezing” of the sound is unacceptable. Performers on brass and embouchure instruments, when playing legato, should not allow the appearance of a “glissanding” combination of sounds, for which it is necessary to closely and promptly change the “tuning” of the lips and reinforce their work with active exhalation. When playing woodwind instruments, correct (“economical”) finger movements are also required, without excessively lifting them above the instrument or deviating to the sides.

The most problematic is performing legato on a sliding trombone. Coherent performance of sounds on the trombone requires clear and fast movement of the backstage, without shocks, which helps to overcome the elements of glissando that are inevitable when moving the backstage slowly. To develop this technique, use exercises from V. Blazhevich’s manual “School for the Development of Legato on the Zug Trombone.”

As exercises for developing legato on all wind instruments, scales and arpeggios of all kinds are usually used, as well as various examples of wide, cantilena music.

The next stage in the development of stroke technique is working on staccato. The player must master a quick and light push of the tongue when attacking, but the speed of the tongue movements (difficult to achieve in itself) must be precisely timed with the movements of the fingers and must be supported by the corresponding pressure of the exhaled stream of air. Abrupt reproduction of sounds should not distort their quality: sounds should not lose their natural “roundness”.

Competent performance of staccato requires the correct attack of sound. In particular, performers on reed instruments are not recommended to place their tongue deeply under the reed, and those playing brass instruments are not recommended to insert it into the labial slit, since this will not result in a full attack. The tongue should approach the lips and close the labial fissure only at the last moment before the attack of the sound, otherwise the effect of the so-called “stuttering” occurs when the stream of exhaled air compacted in the oral cavity presses the tongue to the lips, preventing it from freely pushing away from the lips (or from the upper teeth ), which leads to a delay in the moment of sound attack. Sometimes this phenomenon is caused by a psychological “fear” of the first sound.

The technique of performing staccatissimo is almost no different from the method of performing staccato; it requires extreme abruptness and clarity of sound, without excessive exaggeration and shortening the duration of sounds due to the tight closure of the lips after the attack (the sounds become sharp and “dry”, unmusical, reminiscent of knocking). With any type of staccato, sounds must maintain intonation clarity, “roundness” and naturalness of timbre.

Particular attention must be paid to the execution of the “double” staccato. The techniques for performing it on wooden and copper instruments are different. Performers on brass instruments use a paired combination of syllables (tu-ku) to perform even metrical figures, and a triple combination (tu-tu-ku) to perform triplets; performers on woodwind instruments use only a paired combination of syllables (tu-ku) - easier and more accessible to master. This type of stroke is mastered by the novice musician last. Fast, light and good sounding staccato is indispensable when performing light, graceful passages and is one of the most striking indicators of virtuoso technical skill.

As exercises for developing staccato, it is necessary to use special etudes, as well as playing scales and arpeggios.

In the initial period of learning to play wind instruments, it is necessary to master the technique of playing marcato. Correct marcato – very effective technique, especially when playing brass (embouchure) instruments. With its help, performers are able to convey well the strong-willed, decisive character of the music. This stroke requires the ability to produce a clear, accentuated attack of sound using a sharp, energetic push of the tongue and a strong exhalation. When performed skillfully, each sound is given a distinctly strong, accented beginning. However, the emphasis on the sound should be moderately strong, different from sforzando. After mastering the basic strokes that require a “hard” sound attack, you should move on to studying playing techniques performed using a “soft” attack: non legato and portato, the execution of which has many similarities (common character of attack and dynamics). These strokes are performed at low sound levels (from pp to mf). It should be borne in mind that when playing portato, the sounds are played with maximum length, while when playing non legato, the duration of the sounds is slightly reduced due to the formation of small pauses between sounds; the attack of the sound itself with portato is characterized by extreme “softness”.

When playing string strokes on wind instruments (for example, when imitating a martellato stroke), the sound should be stopped before each subsequent note, so that in the orchestra these notes of one group of instruments do not turn out to be longer than those of other groups.

These strokes require a minimum of exercise; long, continuous work on portato and non legato strokes is usually not recommended, since musicians may have a dull sense of the clear beginning of the sound. For such exercises, it is recommended to use scales and arpeggios of all types, as well as some fragments from musical literature.

The most important thing for performing strokes is the player’s ability to find the required sound attack for each stroke. The constant change in the hardness or softness of the sound attack gives the strokes unusual flexibility and a variety of their shades. Improving stroke technique is unthinkable without systematic training (daily practice on the instrument).

Development of finger technique

Another area of ​​work is the development of finger technique, the achievement of which should be gradual. An important condition for normal and successful development finger technique is the absence of excessive tension in the performer’s body. The student must play at a pace that allows one to follow the rhythm. Only the muscles directly involved in the work should experience the necessary tension; all other muscles should be weakened. You should avoid unnecessary movements that make execution difficult.

Work on developing finger technique requires rhythmic performance, purity in transitions from sound to sound (intonation errors arise due to inaccurate finger movements and inappropriate lip tension), and correct breathing.

To achieve purity in transitions, you need to use the exercises written for this purpose. It is useful to study exercises based on a whole-tone scale and a scale consisting of sequential alternation of semitones and tones. Exercises should be alternated with artistic material, which also develops different aspects of technique. The student must master the fingering of his instrument and use it freely. In addition to the main fingering and its variations, on some wind instruments you can use auxiliary fingering. At the same time, sketches on different kinds techniques and combination of techniques.

We must not forget that technology is only a means, that being carried away by external technical brilliance and weakening attention to the content of the work deprive the performance of artistry, meaningfulness and persuasiveness. The integration of expressiveness and emotionality of performance with high technical skill is the height of the performing school.

The lag in any aspect of the student's technique should be compensated by studying the corresponding etudes, exercises or plays, but this instructional literature should not prevail over fiction literature.

When educating a performer in the field of pop music, one of the most pressing areas is the development of a sense of rhythm. A special rhythmic feeling when performing pop music is developed only through practical training. Without rhythmic clarity and expressiveness, the performance of virtuoso works becomes pale and meaningless. Consequently, the student needs to develop the ability to sense metrorhythmic pulsation: the sharper and more accurate its sensation, the more perfect the rhythmic side of the performance.

However, the ingrained habit of emphasizing meter with external movements can constrain the performer and limit his technical capabilities, for example, in jazz performance, in which the musical rhythm can be very far from mechanically precise and measured movement. The teacher's accompaniment of the student's performance by tapping his foot, clicking, counting out beats or other means of emphasizing the meter also interferes with the development and identification of his own meter-rhythmic sensations, which should be flexible and expressive.

A well-developed ability to sense precise meter provides the basis for the manifestation of rhythmic freedom, which is the most important means of expressiveness when performing pop-jazz works.

To develop a metro-rhythmic sense, it is useful to play works in composite (five-beat, seven-beat, etc.) sizes, as well as with a comparison of triplets with groups of two or four notes, as well as works with frequent deviations from the main rhythm.

Particular attention should be paid to the rhythmic side of the performance of cadences recorded without division into measures: it is necessary to find the metro-rhythmic form and correctly determine the place of the first accent. Often for expressive performance cadence is required to significantly disrupt the uniformity of movement (acceleration in one place can be compensated by a corresponding slowdown in another).

One of the most important tasks facing the performer is determining the tempo. The correct interpretation of the author's intentions largely depends on the exact choice of tempo; an incorrect tempo distorts the meaning of the music.

Developing a sense of steady pace

Particular attention should be paid to developing a sense of steady pace. It is also important to form a sense of motor (muscle) memory for tempo. Involuntary fluctuations in tempo can occur as a result of a number of reasons, which include: stage nervousness, excitement, depression, excitement, etc. Involuntary deviations from a pre-planned tempo occur due to the inexperience of the performer in very slow or fast passages. In the temperate zones of the product, errors are less noticeable.

The stability of the tempo and its modifications is achieved through special long-term training with the constant return of the student’s attention to this most important issue. The performer's musicality and artistic sensitivity help him find the tempo. The mathematically precise metronome data specified by the author should also be observed. After long exercises over weeks and even months, with constant checking of the newly taken tempo with the previously established one, the student develops a feeling of the tempo he has found and mastered.

The formation and improvement of tempo and rhythmic sense is carried out through specially selected exercises, fragments from pop and jazz music according to the degree of increasing complexity.

You should start mastering with slow pieces, gradually moving to faster tempos and complex rhythmic patterns, practicing the transition from one to another. At the next stage, the technique of changing tempos is practiced: a gradual and sudden transition from one tempo to another. One of the main specific elements of performing skills in brass, pop and jazz orchestras and ensembles is swing - rhythmic impulsiveness, which creates a special characteristic intensity of sound at the moment of performance of the work, a feeling of a steady increase in tempo, although formally it is considered unchanged.

Thus, specially organized work with the student on the development of tempo-rhythmic skills will greatly contribute to the development of performing skills. In addition, rhythmic accuracy when performing on wind instruments will largely depend on the accuracy of breathing and its adequacy to the tempo and rhythm of the piece being performed.

Developing a good musical memory

The teacher’s special concern should also be the development of good musical memory. Memorization can be unintentional, being the result of repeated repetitions of musical material, it is characterized by schematicity and inaccuracy (mechanical repetition without the necessary analysis of music usually does not provide lasting memorization).

In the process of deliberate memorization, the material is retained in every detail and firmly held in memory. The teacher must help the student understand the logic of musical (melodic and harmonic) development, the structure and features of the form of the work, which will facilitate the memorization process. Work to develop a student's musical memory should be daily, based on systematic training. The quality of intentional memorization depends on the number of pieces that the performer learns by heart.

To learn well and quickly, you must first become familiar with the entire work, then, dividing it into its component parts, carefully learn these parts, gradually combining them into larger sections, and, finally, work on the entire work as a whole. An indicator of good memorization musical repertoire is the student’s ability to play any fragment of a work from memory or transpose it into another key. It is known that clarity of form, naturalness and expressiveness of melody and harmony contribute to the ease of fixing music in memory, and, conversely, the deliberateness and unnaturalness of music makes memorization difficult.

Developing sight reading skills.

The development of sight reading skills is of particular relevance for performance in a pop orchestra. This type of work cannot be ignored in teaching practice; an interest in this type of work should be cultivated in the student creative activity. If a student at a music school has not been sufficiently familiar with reading notes, then music school, at the university, and even more so in practice, he will always painfully feel this pro-

white Unfortunately, teachers in their specialty do not always pay due attention to the development of sight reading skills. This happens not only because some teachers do not understand the importance of the issue, but often due to lack of time. Therefore, every teacher should use every opportunity to develop the qualities of free orientation in the musical text in their students.

Experience shows that teachers have many such opportunities. Here we mean familiarization with new musical material, which occurs in almost every lesson, and the allocation of a small amount of time from the general lesson limit for reading an unfamiliar musical text by one student or as part of a duet, trio, etc., and, finally, Sight reading assignment for home.

In order for the student to make as few mistakes as possible when familiarizing himself with a new musical text, it is recommended:

a) first familiarize yourself with the new text visually, comprehend its tonality, metro-rhythmic structure, in general terms the dynamics, strokes, character of the music, as well as its purpose (if it is a sketch or exercise);

b) choose a tempo (temporary) in which at this stage you can play the most technically difficult passages without disturbing the general character of the movement of the music. An unsuccessfully chosen (too fast) pace leads to the fact that the student reads relatively easy material freely, but, having reached difficult places, begins to slow down and eventually stops. The goal remains unachieved;

c) to accustom the student to a complex perception of musical material, the ability to grasp the musical text as broadly as possible visually and semantically, not to focus their attention only on the note that is in this moment perform, but be able to look several notes (or even bars) ahead.

The development of sight reading skills should be built strictly according to the principle: “from simple to complex.” The material for sight reading should be selected with exact consideration of the student’s capabilities, but not too easy, but something that could develop him. When familiarizing yourself with a new musical text, it is impossible to set a large volume of performance tasks for the student; the volume of tasks should increase as the student accumulates the necessary professional skills and performance skills. Therefore, it is hardly advisable to demand from a student that when reading from sight, in addition to accurate reproduction of the text, he also achieves exceptional expressiveness of performance. No skill in sight reading can replace in-depth work on a musical text.

Conclusion

Based on this work, in order to obtain high-quality results for students, the following can be distinguished:

Creativity, love and faith in the profession are integral parts of the success of the pedagogical process of teachers;

A teacher by profession is a teacher, educator, mentor, authority and trust in the student’s teacher is the main thing that a teacher should strive for throughout the entire educational process at school;

Systematically improve yourself by studying, analyzing, applying new methods in practice, do not be afraid of new things and do not be afraid to make mistakes;

Be a professional performer, always maintain your performing skills, but do not abuse it in class, in front of students;

Be able to independently analyze and critically evaluate the results of your work. Correct your mistakes or difficult technical and pedagogical moments with colleagues. Since a person cannot be perfect, but together many problems can be solved;

To instill in students artistry and responsibility for their performance when performing on stage.

Used Books.

1. Talalay, B.N. Formation of performing (motor-technical) skills when learning to play musical instruments: abstract of thesis. dis. Ph.D. ped. Sciences / B.N. Talalai. – M., 1982.

2. Tarasov, G.S. On the question of the intonational nature of musical hearing / G.S. Tarasov // Psychological Journal. – 1995. – No. 5.

3. Teplov, B.M. Psychology of musical abilities / B.M. Teplov / APN RSFSR. – M.-L., 1947.

3. Terekhin, R. Methods of teaching playing the bassoon / R. Terekhin, V. Apatsky. – M., 1988.

4. Usov, Yu. Issues of musical pedagogy / Yu. Usov. – M., 1991.

5. Usov, Yu. History of foreign performance on wind instruments / Yu. Usov. – M., Music, 1989.

6. Usov, Yu. History of domestic performance on wind instruments Yu. Usov. – M., Music, 1986.

7. Usov, Yu. Modern foreign literature for wind instruments / Yu. Usov. – M., 1990.

8. Usov, Yu. Methods of teaching to play the trumpet / Yu. Usov. – M., 1984.

9. Fedotov, A.A. On the possibilities of pure intonation when playing wind instruments / A.A. Fedotov, V.V. Plakhotsky // Methods of teaching playing wind instruments / edited by. ed. Yu. Usova. – M., Music, 1966. – Issue. 2.

261. Fedotov, A. Methods of teaching playing wind instruments / A. Fedotov. –M., Music, 1975.

10. Yagudin, Yu.O. On the development of sound expressiveness // Methods of teaching playing wind instruments / Yu.O. Yagudin. – M., Music, 1971.

METHODOLOGY FOR TEACHING PLAYING WIND INSTRUMENTS is an integral part of music pedagogy, studying both the general patterns, forms and methods of individual training and education of wind musicians, and the specific features of the theory and practice of teaching various wind instruments.

The term "method" comes from the Greek word "methodos", which means a path, a way of moving towards truth. In music pedagogy, the method acts as an ordered way of activity to achieve educational, artistic and creative goals.

M. o. And. on wind instruments is organically connected with psychology, physiology, aesthetics, history, cultural studies, and musical acoustics. General, age-related and musical-professional pedagogy acts as a kind of bridge between these sciences. M. o. And. on wind instruments is one of the important sections of the specialty “Instrumental Performance” and largely contributes to the development of pedagogical culture, expansion of artistic and musical horizons and general theoretical knowledge in the field of performance. Special knowledge is necessary for every wind musician in order to eliminate mistakes in the process of mastering the technology of playing a special instrument in order to more effectively achieve pedagogical and performing intentions. The objectives of methodological training in the field of teaching playing wind instruments boil down to the following:

To provide the necessary knowledge on general and musical pedagogy and psychology, the theory of artistic creativity;

To focus on the use of psychological and pedagogical patterns and laws of creativity in everyday activities to increase the effectiveness of teaching the performing arts;

To teach to understand the features of the process of sound production, the functional work of the performing apparatus, and rational staging;

Familiarize yourself with the specifics of performing activities, public speaking, etc.

Except wide range theoretical issues of M. o. And. on wind instruments examines a number of practical issues. In this aspect, theory and performing practice influence each other, helping to solve educational and performing tasks in the most rational way. However, the establishment of common methodological internal connections and approaches between them presupposes the manifestation of external connections determined by the features and subtleties of sound production on a specific wind instrument. These subtleties are studied and considered in most detail by the so-called private methods, for example: methods of teaching the flute, clarinet, trumpet, trombone, etc.

Modern M. o. And. on wind instruments is based on a unified system developed in didactics, which consists of both classical, that is, long-known, and new ones that have appeared in the course of development pedagogical science and practice principles. These include: principles of developmental and educational education; scientific nature and accessibility of the material being studied; systematic and consistent in mastering knowledge and practical skills; creative activity and independence of students with the leadership role of the teacher; clarity and unity of the concrete and abstract, rational and emotional; strength of learning outcomes and cognitive development; rational combination of collective and individual forms and ways of teaching. The task of didactics is to describe and explain the learning process and the conditions for its implementation, to develop a more advanced organization of the educational process, new teaching systems, and new teaching technologies.

In 1935, the work “Fundamentals of Methods of Teaching and Playing Wind Instruments” was published, the author of which was Professor of the Moscow Conservatory S.V. Rozanov (1870-1937). This manual was the first step in summarizing the accumulated practical experience of Russian wind musicians, revealing the main issues in the theory and practice of training performers on wind instruments. In his work, S. Rozanov formulated a number of methodological principles that were of great methodological importance in the further progress of domestic scientific and methodological thought:

The development of a student's technical skills must be closely linked to artistic development;

In the process of students working on musical material, it is necessary to achieve its conscious assimilation;

The basis for correct performance of a particular wind instrument should be knowledge of the anatomy and physiology of the organs involved in the playing process.

To date, the scientific and methodological thought of wind musicians has already accumulated a solid theoretical data bank, created by several generations of teachers and musicians of the domestic wind performing school, where a large share is made up of special literature, which consists of two interrelated sections: the first - various teaching aids, "schools" ", instructional material, artistic pedagogical repertoire; the second - scientific developments, dissertation research, methodological articles and essays, popular science brochures, works of art history.

The accumulation of new reserves of knowledge, the expansion of the scope of penetration of scientific and methodological thought into performing and pedagogical practice is proceeding today in several directions:

Development and improvement of the general theory and methodology of teaching playing various wind instruments;

Studying the specifics and patterns of learning to play a specific wind instrument;

An objective experimental study of the sound of wind instruments, the nature of sound production and sound production, the peculiarities of the functioning of the performing apparatus;

Performing analysis of works for wind instruments of various eras, styles and forms, clarification of their editions; creation of methodological developments for studying the repertoire;

Understanding the history of performing wind instruments.

A great contribution to the development of modern theory and practice of playing wind instruments was made by: L. Belenov, V. Berezin, B. Dikov, V. D. Ivanov, S. Levin, V. Leonov, R. Maslov, N. Platonov, I. Pushechnikov, Y. Usov, A. Fedotov and others.

25.07.2007, 19:35

25.07.2007, 19:50

I recently read that playing wind instruments is harmful to your health. Is it true?
.

Not in children, but in adults, usually over 50. Affects blood pressure.

Picolistka

26.07.2007, 00:51

but on the contrary it is useful for children!! some even specifically send their children to study as wind players if they have asthma or chronic tansilitis.

26.07.2007, 07:16

My girl is old enough. I entered the conservatory. Until yesterday I had never heard any negative reviews about playing wind instruments; I have been communicating with wind players all my life, and what they suffer from in terms of health is alcoholism. But yesterday I read that deep breathing is a blow to the body. I would like to hear the opinions of experts on this issue.

26.07.2007, 08:00

I read that deep breathing is a blow to the body. I would like to hear the opinions of experts on this issue.

You shouldn’t even read such things, let alone attach importance to them! It is nonsense! There is no deep breathing among brass players.
Listen to the teacher.
Breathing must be correct. This is taught from the first minutes of mastering the instrument.

26.07.2007, 08:05

Usually over 50. Affects blood pressure.

At this age, alcohol only affects blood pressure: beer:

Where is the edit button???

26.07.2007, 10:01

There is no deep breathing among brass players.

Got a little excited. :oops: You may not understand it that way...
I meant in everyday life.
In order not to waste a lot of words here, it is more useful to look through any literature on yoga. Three types of breathing are described there.

26.07.2007, 10:36

26.07.2007, 12:27

I'm not talking about that a little. There is breathing according to Strelnikova, according to Buteyko, some kind of deep breathing, VLGD. I don’t know which one is used when playing wind instruments. But for some reason there is an opinion that it is deep breathing that has a destructive effect on the body.

Then it was necessary to indicate these names in the first post.
1. These are health-improving techniques. They are learned only in medical institutions and under the strict supervision of a doctor!
And they can only be harmful if you learn to breathe like this on your own, or there are contraindications - that’s why there is an opinion. I have nothing more to add. However, type these two words into Yandex. Your doubts will disappear.
When playing the wind instruments, none of them are used.
You don't have to worry.

2. Brass instruments “breathe” through the diaphragm when they play. This is taught in music institutions. That's all.

26.07.2007, 13:20

I recently read that playing wind instruments is harmful to your health. Is it true?
The daughter plays the clarinet. Naturally, this question interested and worried me.
Whoever wrote this clearly has nothing to do with the spirit game. instruments. If breathing is done incorrectly, then the game is of course contraindicated, but we are not talking about self-learning, are we? If “playing the wind instruments is bad for your health,” then singing too???:evil:
Complete nonsense!! I disagree!!!:makedon:For asthma, I even recommend it (on the oboe!!!:solution:).

26.07.2007, 13:56

Thank you:)

20.10.2007, 19:49

If wind instruments have any effect on health, it is only:solution:POSITIVE!!!

20.10.2007, 20:30

Not in children, but in adults, usually over 50. Affects blood pressure.
And then - pulmonary emphysema and heart failure. It’s the same for singers, if you don’t finish singing on time (due to age).

20.10.2007, 21:24

At this age, alcohol only affects blood pressure: beer:
Alcohol as an occupational disease for brass players?
-------
As for health - well, your hands can give up from excessive zeal....
And so, in principle, as I was told, “if you don’t apply books on yoga to playing the wind instruments,” then everything will be fine.:angel:

20.10.2007, 23:08

The best remedy for asthma and other breathing problems is the flute and only the flute. Not an oboe. There is no need to play the oboe if you have asthma. They never run out of air until the end of the sentence, but they have to take their breath again. Exhaust air constantly remains in the lungs, and this leads to oxygen starvation. Oxygen deficiency gives rise to a huge number of metabolic disorders. Excess cholesterol remains in the blood, which settles on the damaged walls of blood vessels. Immunity decreases and infectious diseases occur more often. Body weight increases and fat deposits accumulate.
Of course, you should only study with an experienced teacher.

22.10.2007, 08:09

Exhaust air constantly remains in the lungs, .... /quote]
Are you doing this on purpose or on purpose???
And if you play the trumpet from the age of 12 to 70, 24 hours a day, smoke, drink (on holidays), what will be the theory?:silly:

Are you doing this on purpose or on purpose???
And if you play the trumpet from the age of 12 to 70, 24 hours a day, smoke, drink (on holidays), what will be the theory?

Yes, I’m the same way - from 8 am to 45 years old and nothing. But on the flute, gentlemen, on the flute...
Are you an oboist? And Caroline is a doctor.
But seriously... How the game affects health is, in my opinion, positive, there’s really nothing to discuss here.
But how a health condition can affect the game... It seems this topic is more interesting. But who will dare to talk about it?

26.12.2007, 01:04

I'm not talking about that a little. There is breathing according to Strelnikova, according to Buteyko, some kind of deep breathing, VLGD. I don’t know which one is used when playing wind instruments. But for some reason there is an opinion that it is deep breathing that has a destructive effect on the body. There is one “smart guy” who recommends breathing according to Buteyko while singing. Even tighten yourself on purpose. Also an ardent opponent of deep breathing. I asked him personally if it was possible to play a wind instrument with such breathing. I answered “yes” without hesitating for a second... From my own experience: I don’t recommend it to anyone. And don’t listen to various “enlightened” advisers. And spit from a high tower about what is supposedly harmful to health. Walking on polluted streets is much more harmful.

28.12.2007, 08:32

But how a health condition can affect the game... It seems this topic is more interesting. But who will dare to talk about it?
By the way, why won’t it be resolved? It’s more unclear - why? However, if your sense of humor does not fail you, the conversation can really turn out... funny. Otherwise, there will be a conversation between grandmothers on a bench. (Eh, I remember one such company of God’s dandelions... Well, these were the ones who played only on the nerves of the household... and neighbors, when the whole gang discussed their ailments. With such powerful voices that every word could be heard, on the top floor and on the other side of the yard:lol:).

28.12.2007, 22:24

28.12.2007, 23:01

Why? You can breathe. So you can play. Moreover, our inhalation (and exhalation) is correct and beneficial.

29.12.2007, 04:46

And you probably definitely can’t deal with tonsillitis/pharyngitis/bronchitis, right?
Don't know. I can not. It’s so easy to live with a sore throat, what kind of activities are there, and the temperature can jump. But with tracheitis-bronchitis, I can’t breathe normally, I’m suffocating, my vision gets dark, etc. :-(

29.12.2007, 10:06

Well, if it’s really bad, then you probably don’t need it. However, recently I had to perform at two concerts with a cold (one of which was quite respectable). Nothing, I played. The main thing is not to cough while playing.

29.12.2007, 16:13

The main thing is not to cough during the game.

:lol:Or don't sneeze:lol:

29.12.2007, 17:29

:lol:Or don't sneeze:lol:

It happened: I was playing with a cold, taking a breath, and suddenly I took it with such a wheeze that I got scared. I could tell from the faces of those listening that they were scared too:silly:

29.12.2007, 19:28

I understand you...:silly:

little man

30.12.2007, 19:52

And you probably definitely can’t deal with tonsillitis/pharyngitis/bronchitis, right?

They forbid me to do this - in the last lesson (before a bunch of Christmas performances) before the holidays, the teacher even scared me - don’t study for anything sick, no matter what concert is ahead! Like, one singer your age, having almost recovered, began to practice, and now lies in the hospital (I didn’t really understand what was wrong with her).

Thank God, I didn’t get sick, but the clarinet, oboe and bassoon from our quintet fell ill, so many performances unfortunately had to be postponed. She played only duets and solos.

03.01.2008, 01:33

I was somehow triple “lucky”: I managed to catch a cold on the eve of the concert, the temperature was 38. I decided to warm myself up with some coffee in a cafe... For some reason, when the coffee is crappy, it is always incredibly hot. It was impossible to finish it, but I managed to burn my tongue. And then, while crossing the dug-up street, I sprained my ankle... This was already the height of “pleasure.” :silly: And nothing, she played well. My fever even dropped.
I also noticed that my head stops hurting if I play at least a little.

03.01.2008, 16:45

I also noticed that my head stops hurting if I play at least a little.
Hyperventilation of the head? :silly.

Mametov Evgeniy Yurievich
Job title: class teacher - wind and percussion instruments
Educational institution: MBU DO DSHI
Locality: Slyudyanka city, Irkutsk region
Name of material: Methodological report
Subject:"Methods of teaching playing wind instruments"
Publication date: 15.10.2017
Chapter: additional education

Methods of learning to play the wind instruments

instruments

Developer:

Mametov Evgeniy Yurievich

Slyudyanka

1. Introduction

Psychophysiological foundations of the performing process on wind instruments

instruments

Acoustic foundations of sound production on wind instruments.

4. Development of musical abilities in the process of educating a musician

5. Development of internal hearing.

6. Performing apparatus and sound production techniques on wind instruments

instruments.

Performer's breathing. His essence. Meaning. And development methods.

8. Characteristic shortcomings of staging for beginning musicians.

1. Introduction

The method of learning to play wind instruments is an integral part of

musical pedagogical science, which considers the general laws of the process

learning to play various wind instruments. Russian pedagogical science in

The field of performing wind instruments dates back no more than 80 years. She

reached new milestones by adopting and further developing all the best that was characteristic

Russian school of playing wind instruments. Her successes are known not only in our country

country but also abroad.

Composer Goedicke wrote: the technique of playing wind instruments has advanced by

so much that if the best performers, especially on the copper ones, lived 50-70 years ago

if they heard our brass players, they wouldn’t believe their ears and would say that it was

impossible.

It should be recognized that the theory of teaching methods for wind instruments as

part of pedagogical science is the youngest among other methods. Each

a generation of brass players contributes to the technique. Methods of teaching on any

the instrument is part of pedagogy.

Word methodology Greek origin translated into Russian - the path to

anything. A methodology is a set of methods, that is, techniques for performing any

work (research, educational). In the narrow sense of the word, a technique is a way

teaching a particular subject based on analysis and generalization of the best teachers,

musicians and performers.

The methodology studies the patterns and techniques of individual learning. Methodology

contributes to the education of a general musical culture, broadens one’s horizons

performers. The technique comes closer to the specialty. Outstanding

performer and teacher who laid the foundation for the development of the Soviet methodology was

Rozanov. His work Fundamentals of teaching wind instruments Moscow 1935 was

the first work put on a scientific basis.

In his work, he formulated principles that became fundamental in

methodical school on wind instruments:

The development of students' technical skills should be closely linked to

artistic development.

While a student is working on a piece of music, it is necessary

achieve its conscious assimilation and then it will be stronger.

Correct placement should be based on knowledge of anatomy and

physiology of organs involved during play.

The main questions of the methodology formulated by Rozanov were developed by

professors Platonov, Yu. Usov, Pushechnikov, T. Dokshitser, G. Warwit.

The presence of a solid theoretical basis allows us to raise the teaching of the game to

various musical instruments to a new qualitative level.

2. Psychophysiological foundations of the performing process on wind instruments

instruments.

Musical performance- this is active creative process at the core

which underlies the complex psychophysiological activity of a musician.

Emphasize this wording directly. Anyone playing any instrument must

coordinate the actions of a number of components:

motor sense,

musical aesthetic ideas,

volitional efforts.

This is also very important point. It is precisely this diversity of psychophysiological

actions performed by the musician during the game and determines the complexity of the musical

performing technique.

The further path of scientific substantiation of the musical performing process

was associated with the study of the physiology of the higher parts of the central nervous system.

The teachings of the great Russian physiologist Academician I.P. Pavlov about the higher nervous system

activities, about unbreakable connection all life processes, the doctrine of the cerebral cortex

brain - as the material basis of mental activity helped advanced

musicians to change their approach to justifying performing technique.

Educators and performers have become more interested in how the brain works during

games. They began to pay more attention to the conscious assimilation of goals and objectives. Basic

principles of operation of the cerebral cortex - this is a coordinated human activity

carried out through complex and subtle nervous processes continuously

occurring in the cortical centers of the brain. Education is at the heart of these processes

conditioned reflex.

Higher nervous activity consists of two most important and physiologically

equivalent processes:

excitation that underlies the formation of conditioned reflexes;

internal inhibition, providing analysis of phenomena;

Both of these processes are in constant and complex interaction. Mutually influencing

on each other and ultimately regulate all human life.

3. Acoustic foundations of sound production on wind instruments

Unlike keyboards, bowed and percussion instruments, where in the role of a vibrator

solid bodies protrude (for string instruments - strings, special plates, skin for drums) all

wind instruments belong to instruments with a gaseous sounding body.

The cause of sound here is vibrations of the air column.

caused by special actions of pathogens. Specifics of sound production on wind instruments

instruments depends on the design of the instruments. Modern musical acoustics

All wind instruments are divided into three groups:

first group labial from the Latin word laba(lip) also called they

whistling (including all types of pipes, flutes, some organ pipes),

second group reed, reed or lingual from Latin

words lingia(language) (all types of clarinets, all types of oboes, bassoons, all types

saxophones and bass horns),

third group with a funnel-shaped mouthpiece they are usually

are called copper(all types of cornets, trumpets, horns, trombones, tubas, bugles,

fanfare).

How is sound created?

On a flute, which is an instrument with a gaseous exciter, sound

formed as a result of friction of an exhaled stream of air against the sharp edge of the hole

ladium located in the head of the flute. In this case, the speed changes periodically

movement of the air stream, which causes the occurrence of sound vibrations in

flute channel. All reeds belonging to instruments with a solid exciter

produce sounds using vibrations of special reed plates (reeds).

The oscillatory process on these instruments is regulated by the actions of two

interacting forces: forward movement exhaled air stream and force

cane elasticity.

An exhaled stream of air bends the thin part of the cane outward, and its force

elasticity causes the reed plate to return to its original position.

These movements of the tongue (cane) provide an intermittent jerk-like

the entry of air into the tool channel where a response oscillation of the air occurs

the pillar therefore the sound is born.

The appearance of sound on wind instruments is even more unique.

instruments with a funnel-shaped mouthpiece. Here in the role of a solid sound exciter

The central areas of the lips, covered by the mouthpiece, protrude.

As soon as the exhaled stream of air enters the narrow labial slit, it immediately

causes the lips to vibrate. These vibrations change the size of the opening of the labial fissure

create a periodic jerky movement of air into the mouthpiece of the instrument.

The result of this is alternate condensation or rarefaction of air in the channel

instrument that produces sound.

Having considered acoustic fundamentals sound production we find one thing in common

phenomenon: In all cases, the cause of sound formation is periodic

vibration of the air column enclosed in the instrument caused by

specific movements of various devices and sound exciters.

In this case, the oscillatory movements of the air stream, reed plates or lips

is possible only if the various components coordinate their actions

executive apparatus

4. Development of musical abilities in the process of educating a musician

Despite approximately equal mental abilities and physical development

students, we have different outcomes for their learning. Analysis of these phenomena

indicates that in the preparation of the performer there is an intuitive beginning, that is, the presence

natural abilities become crucial. V.M. Teplov in his

labor "Psychology of musical abilities" musical literature 1947

proves the possibility of developing all musical abilities based on innate

makings. There can be no abilities that would not develop in the process of education

and training.

What do we mean when we talk about musical abilities or musical

inclinations?

First of all, we mean musicality. This is an apt definition

Alekseev did in his method of teaching piano. "Musical people should

name a person who feels the beauty and expressiveness of music and is capable of

perceive a certain artistic content in the sounds of a work, and if it

the performer then reproduces this content." Musicality develops in

the process of correct, well-thought-out work during which the teacher brightly and

comprehensively reveals the content of the works being studied, illustrating his

explanations by demonstration on the instrument or by recording.

The complex concept of musicality includes a number of necessary components:

exactly:

ear for music,

musical memory,

musically rhythmic feeling.

Ear for music

Ear for music- this is a complex phenomenon that includes such concepts as:

pitch (intonation),

melodic (modal),

harmonic,

inner hearing.

Each of the named aspects of musical ear has in training and in

performing practice is of great importance. The performer absolutely needs

the presence of well-developed relative hearing, making it possible to distinguish

the ratio of sounds in height taken simultaneously or sequentially.

This quality is extremely important for an orchestral musician. Valued in the orchestra

a performer who listens well to his group and actively participates in it without disturbing

ensemble. The ability to hear imaginary sounds, write them down on paper and

operating with them is called internal hearing. Musical hearing develops in

process of a musician's activity. It is necessary to ensure that all work with the tool

proceeded with tireless hearing monitoring.

The lack of students is that they have no control over their playing of the instrument

hearing. This is the main disadvantage independent work students. To the teacher

the specialty must constantly take care of the development of all components

musical ear and, above all, internal melodic ear.

5. Development of inner hearing

In addition to solfeggio lessons and homework on this subject

a teacher in the specialty requires performance from the memory of friends previously or again

heard musical excerpts ( selection by ear), transposing familiar

melodies in other keys, improvisation, as well as composing music if available

there is enough data for this.

It is useful to teach students to analyze their own or other performances,

critically assessing them. That’s why you need to go to concerts not only for your own

specialties: choir, chamber orchestra, brass, pop, ensembles, soloists, violinists.

To develop melodic ear, it is necessary to systematically work on

cantilena (slow piece). Cantilena (slow piece) also develops endurance

because there is a lot of stress on the lips, you take a lot of breath. Improving

harmonic hearing is useful to analyze the texture of the studied musical

works, play more in an ensemble, in an orchestra. Texture is a Latin word in

figuratively, device, structure of musical fabric.

A well-developed ear for music is the most important condition for development

musical memory.

Musical memory- this is a synthetic concept that includes auditory,

visual, motor, logical. Musical memory can also be developed.

It is important for a musician to have at least developed three types of memory:

the first auditory system that serves as the basis for successful work in any field

musical art,

the second is logical related to understanding the content of the work and

laws of development of musical thought,

the third type is motor, extremely important for instrumentalists.

For many people, visual memory plays an important role in the memorization process. Working

over the development of the student’s memory, one should remember: the memorization system is very important

music, the student must take into account that music flows in time, the creation

a work as a whole is possible provided that its parts are retained in memory. IN

As a result of frequent performance, memorization may be intentional. Memorization

It can also be intentional when individual passages are specially memorized, and then

the entire work.

Here you need to know the form of the work, its harmonic structure. At

when learning it is important to realize the similarity, repetition individual parts musical

forms, and attention is fixed on what distinguishes these parts, and what their

unites. Intentional memorization involves: visual, motor, as well as

more complex internal auditory memory. Checking the correctness of what you have learned

piece of music: recording memorized music without using an instrument

(notes), transposing a melody into another key and the ability to start playing with

any place. The ability to start performances from any place indicates a deep and

the performer's thorough knowledge of the music of the work.

6. Performing apparatus and sound production techniques on wind instruments

Analyzing the technology of sound production on wind instruments we can

establish that it is composed:

visual-auditory representations: first you see the note, internally you hear

this note;

performing breathing: after you understand what note it is and where it is

sounds approximately (in your head), you take your breath away. This is performer's breathing.

special work of the muscles of the lips and face: you need to position the lips and muscles so that

hit that note

specific movements of the tongue: that is, which tongue is hard, soft or

coordinated movement of fingers: what kind of fingering and so on...

continuous auditory analysis: these are all the moments until the last, they are all

subject to auditory analysis (continuous)

These components are inextricably linked to each other in a complex neuromuscular

activities and constitute the musician’s performing apparatus.

The question will be: what components does the technology consist of?

sound production? You will have to name these 6 components.

The most important role belongs to the labial apparatus. The question will be: what is a labial

device? You need to know all these formulations like the Lord's Prayer.

Lip apparatus- this is a system of labial and facial muscles, the mucous membrane of the lips and

mouth, salivary glands. The combination of these elements is called the labial apparatus. Labial

the device is sometimes called differently embouchure.

The concept of embouchure is used in connection with all wind instruments, but is interpreted

in different ways: some believe that this means the mouth or mouthpiece, others that it

refer to the labial fissure.

According to the Moscow 1966 edition of the Encyclopedic Music Dictionary

word embouchure - French and has two concepts:

the first way to fold the lips and tongue when playing wind instruments. So

In this way, you can accurately determine this position, the degree of elasticity of the labial and facial

performer's muscles, their fitness, endurance, strength, flexibility and mobility

when playing it is called an embouchure.

And the second definition in this dictionary: it is the same as a mouthpiece.

Systematic training for the performer becomes paramount

meaning. The development of the labial apparatus should be carried out in two planes. First

plane: this is the development of the labial muscles, that is, the development of strength, endurance of the labial,

facial muscles. Once you have developed the beauty of sound, your

unique timbre, intonation quality of sound. For this purpose you need to lose on

full breath of whole notes for 20-30 minutes.

7. Performing breathing. His essence. Meaning. And development methods

The breathing technique of a performer on wind instruments is first and foremost a technique.

mastery of sound, which includes all the diversity of timbre, dynamics, strokes and

articulation. If breathing is well established, you can immediately judge by the sound that you have

a person has timbre, dynamics, articulation. Sound culture presupposes the presence

a certain school of breathing.

If language plays a decisive role in the origin of sound, then in the conduct of sound

it belongs to the air stream exhaled by the performer into the instrument. Character

air stream is adjusted in addition to the breathing muscles by the labial muscles, muscles

language. And all of them together are controlled by hearing. Conventionally performing breathing

can be compared to a violinist's bow.

Performing breathing is active expressive means V

arsenal of a brass musician.

Professional breathing of a performer on wind instruments is determined in

primarily by conscious and purposeful control of the respiratory muscles

fully working during inhalation and exhalation. Participates in the respiratory mechanism

muscles of inhalation and exhalation. The skillful use of these antagonist muscles depends

performer's breathing technique.

The inspiratory muscles include: diaphragm and external intercostal spaces.

The muscles of exhalation include: abdominal press and internal intercostal muscles.

The performer must learn to control active inhalation and exhalation through

development and training of respiratory muscles. Exhale in interaction with the lips, tongue,

fingers plays a primary role in the formation of sound, in its control and in various

types of its manifestation in technology.

A well-placed exhalation not only affects sound quality and versatile

technical capabilities, but also opens up wide scope for the activities of others

components of the performing apparatus: lips, tongue, fingers. Two phases of breathing (inhalation and

exhalation) can be used in different ways in the performing process.

In natural physiological breathing of a person, inhalation is an active act of

in which the lungs expand, the ribs rise upward, and the dome of the diaphragm descends

down. Exhalation, on the contrary, is a passive act: the lung cavity, chest and diaphragm

return to their original position. During physiological breathing cycle

flows: inhale, exhale, pause. Professional performing breathing subordinately

consciousness of the performer and involves active inhalation and exhalation. Inhale - short, exhale -

long (long).

High-quality exhalation also depends on correct and complete inhalation..

A professional inhalation from a brass player should be short, full and silent. He

has a number of specific differences from normal human physiological breathing.

Firstly, it requires maximum use of lung capacity (3500-4000

milliliters of air). During physiological breathing, the volume is 500 milliliters.

Secondly, with professional breathing, the load on the respiratory system increases

muscles. It is many times greater than during calm vital breathing.

Thirdly, during normal normal breathing, inhalation and exhalation are approximately equal in

time, that is, rhythmic breathing.

A person in a calm state makes 16-18 respiratory cycles per minute.

The oven reduces the number of breaths to 3.8 per minute. In natural conditions a person

breathes through his nose. When playing wind instruments mainly with the mouth, with little

help with the nose. This ensures that the inhalation is complete and quiet.

Breathing when playing wind instruments should be taken through the corners of the mouth at

minor nose help. Inhalation through the mouth allows for quick and silent refilling

lungs with air. When inhaling, the external and intercostal muscles of the chest are involved

and diaphragm. Therefore, uniform filling of the lungs with air and expansion in all

directions of the chest depends on the development, strength and activity of these muscles.

As for the diaphragm, this muscle is one of the strongest in our body.

Together with breathing, it makes 18 vibrations per minute, moving by 4

centimeter up and 4 centimeters down. The diaphragm does a great job. How

perfect injection pump diaphragm with its entire impressive area

descends when inhaling, compressing the internal organs and abdominal circulation.

When inhaling, the lungs should be filled with air from bottom to top, like a vessel with

water in which the liquid first covers the bottom, and leaning on it fills the vessel until

top. Thus, a so-called air column is formed in the lungs, resting

to the bottom of the lungs, to its base, that is, to the diaphragm.

The question will be: What is the difference between human breathing and performing breathing?

The breathing of the performer on a wind instrument is not rhythmic and the second option

that breathing is supported. Supported breathing is the correct breathing of a brass player.

8. Characteristic shortcomings of staging for beginning musicians

If we imagine the process of a musician’s learning as a gradually building

building, then the staging will play the role of a foundation. Correct positioning serves

the basis on which the development of a musician’s performing skills is based.

The practice of teaching young, beginning musicians shows what to pay

attention to staging follows from the first steps. Most typical for beginners

musicians are disadvantages associated with the incorrect position of the instrument,

hands, fingers and head.

For flute players, the most characteristic is an inclined

the position of the tool instead of the required direct one, which is a consequence

lowering the right hand. To correct this deficiency, the teacher must ensure that

so that the student holds the elbow of his right hand slightly raised while playing. In that

In this case, both hands will be at the same horizontal level and the flute will lie

Beginning oboists often hold the instrument too elevated, which is partly

associated with excessive lowering of the chin. Correct this deficiency

not difficult - you just need to monitor the correct position of the head and hands, which

should not be lifted up too much.

The clarinet player most often moves the instrument slightly to the side, and more often

to the right than to the left, or give the instrument an incorrect vertical position

(they hold it too close to the body) or, on the contrary, lift it up excessively.

Such deviations from the norm (if they are not caused by any

individual characteristics of the musician) should not take place because this

leaves a certain imprint on the character of the sound. It is known from practice that

when the clarinet is tilted down, the sound becomes liquid and dull, and when raised excessively

up rougher.

For brass players, the incorrect position of the instrument is as follows:

press with the phalanges of the fingers, but you need to press with the pads of the fingers when playing

cornet, trumpet hold on to the ring. There is no need to hold onto the ring when playing. For the ring

They hold only when the notes are reversed, or when you need to insert a mute. Beginners

French horn players often hold the bell of the instrument incorrectly: either they lower it too much

down, or, on the contrary, turn strongly upward. Trombonists often give

The instrument is in the wrong position by holding the slide down.

Deficiencies in setting associated with the position of the fingers on the instrument may

be quite different:

Woodwind players often raise their fingers high when playing,

are moved unnecessarily to the side, in addition, they do not lie on the instrument in a rounded manner

bent, but in a purely straight position, which causes excessive tension.

Incorrect head position is manifested in the fact that some musicians at the moment

games lower the head down as a result of which the chin also drops causing

additional tension in the neck and chin muscles.

This tilted head position can be found among performers at various

wind instruments, but most often it is found among trumpeters, oboists,

clarinetists, horn players. Tilt of the head to the side (to the right) is especially common

found among flute players, for whom it has become a tradition and harmful

habit.

Once you begin learning to play the instrument, you must constantly monitor the correct

staging techniques for the player. At the same time, it is necessary to ensure that the student not only

knew certain methods of rational formulation, but also understood the expediency of them

practical application.

Control over staging can be weakened when the correct staging techniques

will turn students into accurately learned and reinforced skills.

Troyanovsky Boris Yurievich
Job title: teacher in the class of flute, recorder.
Educational institution: GBOUDOD named after Alexandrov.
Locality: Moscow
Name of material: Methodological development. (essay.)
Subject:"The influence and benefits of playing the flute and other wind instruments on respiratory system person."
Publication date: 25.03.2016
Chapter: additional education

Impact and benefits

flute games and others

wind instruments

on the human respiratory system.
Musical education is one of the indispensable conditions for a comprehensively developed personality, THAT'S WHY MANY parents dream of sending their child to a music school. On the eve of the new school year, parents are actively enrolling their children in various studios and schools. Choosing a musical instrument that your child will learn to play is very important. A lot depends on the right decision. And the influence of musical classes on the child’s health, and his educational success, and his future career. When choosing a tool, you should not follow the spirit of fashion. If at a given moment in time it is fashionable to play the button accordion, this fashion will not necessarily continue for ten years until the baby grows up. Choose tools that are more versatile. First, you should talk to your child, invite him to listen to the sound of different musical instruments and show him how musicians play them. The child may show interest in something specific. But to make sure that the choice is correct, desire alone is not enough. It is necessary to evaluate how a particular musical instrument can affect health
your child. For example, there is nothing better for developing breathing than practicing wind instruments. For children suffering from asthma, lessons on wind musical instruments (flute, oboe, clarinet, saxophone) are especially recommended, and for children three to four years old - recorder. These classes involve working on professional performance breathing, which helps fight the symptoms of asthma and allergies, and sometimes even cures them! Wind musical instruments are a family of musical instruments in which the source of sound is a column of air enclosed in them; hence the name (from the word “spirit” - meaning “air”). Sound is produced by blowing a stream of air into the instrument. Wind instruments are instruments of universal capabilities. They are used everywhere: in symphony, jazz, brass bands, folk groups, and in groups of avant-garde styles of modern music. In music schools there is a whole “constellation” of instruments that children learn to play with great pleasure. All these instruments sound great in a school brass band. Practicing wind instruments is very beneficial for health. They strengthen and heal the respiratory system. They are strongly recommended by doctors in the complex therapy of bronchial asthma and chronic bronchitis. By studying wind instruments, boys can obtain a specialty for military service. The students will also attend student orchestras organized at universities across the country. Let us immediately note that there are age restrictions for playing wind instruments. For example, it is recommended to learn to play the saxophone from the age of 10-11 - by this age a child
achieves the necessary physical development. However, taking into account acceleration, the bar for “wind blowers” ​​is gradually being lowered. From the age of 5 you can already learn to play, for example, the recorder or ocarina. Many parents bring their children to school specifically to improve their health. There were cases when students were treated for asthma by playing the flute and oboe. For those who systematically exercised daily, their well-being improved significantly. And it was much more interesting for children to learn to play than to inflate balloons, as doctors advise. The fact that “blowing” is really very useful is confirmed by pulmonologist, candidate of medical sciences Larisa Yaroshchuk: “When playing a flute or other wind instrument (oboe, saxophone), resistance is created to the flow of exhaled air. This helps the alveoli (structural units of the lungs) to open well, develops lung tissue, improves gas exchange in the body, and increases the vital volume of the lungs. However, before enrolling your child in a music school, you should also take into account contraindications. You should not play wind instruments if you have emphysema (pathological increase in lung volume), increased intracranial pressure, cysts in the lungs and at some stages of tuberculosis. You also need to be careful if you have congenital heart defects: the “heavy artillery” of the orchestra, for example, trombones or tubas, is contraindicated for such children, since these instruments require considerable physical activity.” If your child has breathing problems or asthma, then there is nothing better than the wind section - flute, saxophone, trumpet, horn. Here your child will first be offered to start learning on a wooden or plastic recorder. This stage is the same for all wind instruments. Here the basics of musical notation, melody and, most importantly, breathing develops! I know many
cases when the disease subsided under the perseverance and hard work of the child after a couple of years of study. Asthma is a disease of the tracheobronchial tree, which is characterized by bronchial hyperresponsiveness and subsequent airflow obstruction due to exposure to an irritant. Such an irritant can be exogenous allergens, viral respiratory infections, physical stress, cold air, tobacco smoke and other air pollutants. In this case, airway obstruction is dynamic and improves either spontaneously or as a result of treatment. Another example. Treating asthma the Australian way. People suffering from bronchial asthma know that an attack of suffocation can occur at the most inopportune moment. In such situations, the main thing is to have a compact aerosol can with you, otherwise the consequences can be very dire. If there is no medicine, there are special breathing exercises that can alleviate the patient’s suffering. And recently, Australian scientists have discovered a new way to treat asthma - playing wind musical instruments. Thus, in particular, attacks of suffocation go away if the patient plays the didgeridoo, a musical wind instrument of the Australian aborigines. A study conducted by researchers at the University of Southern Queensland - Australia found that regular didgeridoo practice improved the breathing of asthmatics and improved their overall health. During the experiment, ten Aboriginal boys attended weekly didgeridoo lessons for six months. Upon completion, it was found that their respiratory functions had improved significantly. According to scientists, this
contributed to the deep and permanent (continuous) breathing necessary to extract sounds from the mentioned instrument. The didgeridoo is made from a piece of eucalyptus trunk up to three meters long, the core of which has been eaten away by termites. The mouthpiece can be treated with black beeswax. The instruments are usually painted and decorated with images of the tribe's totems.
Playing wind instruments reduces the risk of developing

sleep apnea.
129 people took part in the study. 64 volunteers played wind instruments, while the rest did not. Experts tested the participants' lung function. Volunteers also filled out a questionnaire designed to assess the risk of developing sleep apnea, writes The Times of India. The lungs of people who played wind instruments performed no better than those of those who did not play such instruments. However, according to the questionnaire, the risk of developing sleep apnea in participants who played wind instruments was approximately 1 point lower. Scientists explain this fact in that people who play wind instruments are likely to have increased muscle tone in the upper respiratory tract. So, according to researchers, playing wind instruments - good way prevention of sleep apnea in risk groups. There are other benefits to playing music. For example, they develop areas of the brain associated with speech perception.
The benefits of playing music.
As is known, various areas human brain there are different specializations. The human brain is functionally divided into two hemispheres, connected by the so-called. "corpus callosum", that is,
a kind of “information bridge” connecting parts of the brain. It has been noticed that in people who intensively practice music, this “bridge” hypertrophies, in other words, it increases. When practicing music, the corpus callosum increases in size by about 25%. (The number of neurons that help information circulate throughout the brain increases.) The corpus callosum coordinates the work of both hemispheres of our brain. It is responsible for the speed of information exchange between them. Scientists are sure that playing musical instruments brings joy to a child and stimulates development. The child becomes smarter, imaginative thinking develops. And he can then work in different areas of human knowledge. Thus, playing wind instruments has a beneficial effect on the respiratory system and harmonizes the general condition of a person. List of references: 1. Ryazanov S. “School of playing the clarinet”, publishing house “Moscow”, 1978, 247 p. 2. Usov Yu. A. “Methods of teaching to play the trumpet,” Moscow Publishing House, 1982, 354 p. 3. Galygina Daria Alexandrovna.