There are always objective difficulties in the work of an accompanist. He has to work with children of different ages(from beginning schoolchildren to graduates), with teachers of different dance styles - folk choreography, classical and modern dance. Filling each lesson with music, in accordance with the age of the dancers, the repertoire of a given age category and dance direction, is not easy. There is only one way - constant improvement, a serious creative approach to work.

The duties of the accompanist of choreographic classes include:

Repertoire selection of musical works for classes,
constant expansion of musical baggage and knowledge about the nature of dance, its
characteristic features;

Studying experience in aesthetic education of children in
choreographic groups, in particular, for musical development;

Introduction to new techniques of “moving to music”;

Systematic work on the musical development of dancers, because
that musically educated children are much more expressive in dancing.
Effective work in choreographic classes is possible only incollaboration between a teacher-choreographer and a musician. And here we can talk aboutsubjective position, because psychologicalcompatibility, personal qualities of the accompanist and choreographer. Fortrue creativity requires an atmosphere of friendliness and ease,mutual understanding. It is important that the accompanist be different and a partner. Only from the position of a creative approach is it possible to realize all plans and have high performance in the performing activities of students in choreographic classes.

The teacher programs and plans work in choreographic classes.choreographer. An accompanist often has to work with severalteachers, and most often the accompanist comes to a ready-made program.
Thematic planning educational material The choreography is also done by the teacher. The accompanist must know the program, the plan of each year of study, and the plan of each lesson. Co-creation between the teacher-choreographer and accompanist is necessary in all areas (planning, implementation of educational and production programs). The arrangement of the classes does not depend on the accompanist, it is up to the choreographer to decide. But what the return will be, on what emotional level they will take place, largely depends on the musician, on the music he has selected and offered.
The technology for selecting musical works is based on the deep knowledge of the accompanist of systemic choreographic education and assumes:

Knowledge of schools and directions of dance art;

knowledge of traditional forms and stages of teaching children choreography;

knowledge of the forms of constructing classes, mandatory improvisation
moments;

knowledge of choreographic terminology (in particular,
French);

The following requirements apply to the selection of musical fragments:

character;

pace;

metro rhythm (meter, accents and rhythmic pattern);

form of a musical work (one-part, two-part,
three-part, introduction, conclusion);


Music to accompany dance exercises is necessary at all times.replenish and diversify, guided by aesthetic criteria and a sense of artistic proportion. Constantly playing the same march or waltz during lessons leads to mechanical, non-emotional performance of exercises by dancers. The other extreme is also not desirable: changing accompaniments too frequently scatters students’ attention and does not contribute to their assimilation and memorization of movements.
Musical development in choreography lessons is carried out with the help ofcertain methods and techniques. The primary source of knowledge is music itself, only it awakens a person’s “musical” feelings. At the beginning there is work to gain experience in listening to music. The second source of knowledge is the word of the teacher and accompanist, which leads to the understanding and perception of the musical image of specific musical works. The third source is the direct music and dance activities of the children themselves.

To develop the “musicality” of performing a dance movement, the following work methods are used:

visual-auditory (listening to music while the teacher demonstrates movements);

verbal (the teacher helps to understand the content of the musical
works, stimulates the imagination, promotes creative activity);

practical (specific activities in the form of systematic
exercises);

During classes and in the pauses between them, the accompanist introduces children to new and new musical works, accumulating their listening experience. The accompanist does not have special lessons, but there are always short pauses that can be filled with music and attract the attention of children. When developing children's imagination, perception, and fantasy, it is useful to use the method of listening to a fragment or piece of classical music, followed by a short conversation. The method is not new, but it pays off. The result of this work is always positive: children’s movements gradually become more expressive, i.e. there is a convergence of musical-auditory forms of perception with visual-motor ones. Children learn to control their movements and do
them harmonious.

In terms of musical education, the accompanist has the opportunity to teach children the following:

highlight the main thing in music;

convey different intonation meanings with movement (rhythmic,
melodic, dynamic beginning).

This can be done at any stage of training: both in exercises and in dance sketches.
The main musical idea embedded in the work is melody, the basis of music. The most important element of music is rhythm. Another characteristic feature is the alternation of heavy sounds with lighter ones - this is the concept of meter in music. Tempo as speed is fundamentally the same in both music and dance. Dancing children should know, understand, and identify all these characteristics. And this is the basics of musical literacy. Rhythm, melody, meter, harmony, timbre - together they make up the language of music, and the accompanist teaches children to understand it. A subtle sense of music perception develops in children during organic connection
movement and musical phrase (beginning and ending). The accompanist teaches
execution of “commands”: the beginning of the melody - the beginning of the movement, the end of the melody - the end of the movement. The ability to fit into a musical phrase is developed.

Let's consider the main stages of introducing children to musical accompaniment in classical and folk stage exercise classes.

First stage– initial acquaintance with a piece of music.

Here the tasks are set: to familiarize students with musical fragments, teach them to listen attentively and respond emotionally to the feelings expressed in them, and be able to accurately perform preparation during the introduction.

The process of mastering new musical material involves the auditory,
visual and motor analyzers. Therefore, the material is given in a holistic form, and not fragmented. The teacher-choreographer demonstrates movements to musical accompaniment (the first stage – one or two lessons).

Second phase– formation of skills in the field musical performance movements, perception of musical accompaniment in unity with movements.The tasks set here are: the ability to perform movements in accordance with the nature of the music, in-depth perception and transmission of the mood of music in motion, coordination of hearing and the nature of movements. At this stage, all inaccuracies in performance are identified, errors are corrected, and optimal techniques for performing choreographic tasks are gradually developed. This stage continues long time. There is a careful selection of musical material for each movementclassical and folk stage exercises in accordance withrequirements (squareness, rhythmic pattern, character of the melody, presence of a beat, meter-rhythmic features, tempo, size).
Third stage– education and consolidation of skills, that is, automation
ways to complete tasks in strict accordance with the character, tempo, and rhythmic pattern of a musical fragment.It sets the following tasks:
emotionally expressive performance of exercise exercises, developmentindependent creative activity of children. At this stage, everything that was practiced during the learning process at the second stage is consolidated. Auditory and visual control is reinforced by motor control. The method of performing a task is automated. Students consciously solve problems assigned to them, relying on acquired listening and dancing skills. In the process of systematic work, students acquire the ability to listen to music, memorize and recognize it. They are imbued with the content of the work, the beauty of the form and images. Children develop an interest and love for music. Through musical images, children learn about the beauty in the surrounding reality.

The fundamental disciplines in choreography are classical and folk stage dance. The study of classical dance usually begins with learning a classical exercise, which takes up the main part of the lesson (exercise at the stick, in the middle of the hall and allegro).

The study of folk stage dance also begins with the study of exercise at the stick and in the middle of the hall.
The selection of musical material for choreography classes is carried outaccompanist in accordance with the program requirements of the choreographer.
Stick exercise consists of specific exercises, each of which has its own specific musical requirements. In the first or second year of study, children are engaged in public choreography. At this moment, correct coordination of movements, positioning of the body, head, and arms are developed, and the muscles of the legs develop. In the process of these classes, they gain knowledge about rhythmic organization, meters, musical images, which they embody in dances and etudes.
In the process of work, one gets acquainted with the music and rhythmic pattern of a march, polka, waltz, mazurka, polonaise, using simple musical examples.
To develop imaginative thinking, musical examples that are not large and not difficult to perceive are selected, but very bright in character and musical coloring, so that children, after listening to a given piece of music, could create a mini-etude, or embody a specific image to specific music (“ Monkeys”, “The sea is agitated”, etc.).
At the next stage of learning, children again encounter these dances or movements in lessons, but with more complex musical material.
In the third year of choreography training, classical dance is introduced, which subsequently forms the basis of all dance classes.
In the first year of classical dance training, children are given basic initial ideas about it. On initial stage this is done on a familiar or not difficultmusical material so that it is easier for students to organize their movements in accordance with the music. Further, the combinations become more complex, and the musical material becomes more complex. This can be traced to specific examples: marching to music is used in the lesson to develop a sense of rhythm and coordination of movements with the music. At the beginning, the exercises go at the same pace, and as you master them, they go at different paces: with acceleration or deceleration, with pauses, with different rhythmic organization. Plie at the initial stage is performed in 4/4 musical time, then in ¾.
The musical accompaniment of dance lessons must be very precise, clearly and efficiently organized, since the musical development of students depends on this. The accompanist must very clearly define for himself the tasks of each year of study (both in folk-stage and classical dance lessons), and also show not a dry adherence to the recommendations of musical notes for choreography, but an individual and creative approach in the selection musical arrangement lessons.

Let us dwell on the principles of the accompanist’s approach to the selection of musicalfragments for lessons in classical stick exercise. Throughout the course of training, classical exercise has a certain set of elements that are studied year after year, but as they are mastered, they constantly become more complex and combined. The musical arrangement of classical dance lessons should be very diverse in both melody and rhythm. The nature of the rhythms often changes during the lesson. When learning a new movement or its individual elements, the rhythm should be simple, the melody should not be complex, accessible. Then, in the process of work, the musical material becomes more complex, the rhythmic
pattern within a beat, the shape and size of a musical fragment changes, especially in jumps, or when combining different exercises into a singlecombination. In addition to the use of sheet music, musical improvisations by the musician are possible and desirable.

Musical fragments for classical exercise must have the following properties:

1. Squareness.
At the initial stage, it is very important that the work can be divided into squares. This means that one movement is made 4 times: with a cross - forward, to the side, back, to the side. A square consists of measures in 2/4 or 4/4 time. Later, as the dance technique is acquired, the tempo accelerates, but the squareness remains. For example, a combination of two movements in a square is made - this is equal to a phrase of eight measures: one movement - 1 measure, or three
movements in a square are equal to 12 beats. In the third year of teaching classics, this property no longer has the same importance as in the first year, since children learn exercises in pure form, and the combinations created become more complex, and in them the movements can change out of square. Here, more complex time signatures are taken: ¾, 6/8, etc., and a faster tempo is used.

2. A certain rhythmic pattern and tempo.
To perform movements such as Adagio, tendus, Rond de jambe, par terre, the rhythmic pattern is not particularly important, but the tempo is important. It should be slow and the melody should be lyrical, as the movements are performed smoothly and slowly. To perform the battements tendus movement, a clear rhythmic pattern is required, as well as the presence of a syncopated rhythm. The execution of these movements goes in fast pace eighth notes; musical fragments must contain sixteenth and eighth notes (2/4 or 4/4 time when played slowly).

3. Presence of beats.
Any beat is of no small importance in the execution of the movement; in addition, it determines the tempo of the entire exercise. At the initial stage, when the movement is learned and performed on the downbeat, the beat does not play a decisive role, since the movements at this stage are performed at a slow tempo in squares on the downbeat (battements tendus, battements tendus jetes, battements frappe).

In the future, this quality plays an important role. Any upbeat, in addition to determining the tempo of the exercise, makes the musical fragment clearer, activates the exercises, emphasizing the weak beat. The upbeat can be used in all exercises, as it is easier to start with
movement.

4. Tempo and metric features.

Size 2/4 can be used for various exercises. But the tempo of performance and the technique itself are always different. Battements tendus, battements tendus jetes, battements frappes can be performed in 2/4 time at allegro, moderato tempos.And the exercises battements fondues, plie, passé par terre - in 2/4 time at adagio, lento tempos. Rond de jamb par terre can be performed in ¾ time, that is, one movement per 1 measure. Thus, the tempo slows down to adagio (or one movement - a full circle - for 4 measures. The same thing happens with the 4/4 time signature. The tempo in this time signature can vary from lento to andanteno in different movements.

5. Metro-rhythmic features.

At the initial stage, small durations can be performed 2 times longer, but the character of the melody should not be distorted. As you learn the movements, the pace speeds up. At the initial stage, when the movement is being learned, the accompanist plays at a slow tempo; as learning progresses, the tempo accelerates.
The same thing happens with preparation and when adding poses to a combination.
Let us consider specifically what criteria are used to select musical
fragments for the basic exercises of classical pole exercise.

Plie – size 4/4, ¾; the music is smooth, the tempo is moderato or adagio.
The fragment must be square; the presence of an even rhythmic pattern does not matter. It is desirable to have a backtact. Rhythmic expansion to longer durations is not required, since in 4/4 time one movement is made per 1 measure. For this exercise, a musical fragment is selected in 4/4 at a slow tempo.
Battements tendus – size 2/4; character of the music - clear, cheerful, tempo
allegro or allegretto. For a musical fragment, squareness is desirable.
The rhythmic pattern is of great importance. Moreover, it matters
possibility of metrorhythmic decomposition. At the initial stage the movement
done in 2/4 and 4/4 at a slow tempo, then in 2/4 at a fast tempo. Also great importance has a beat and its emphasis for accuracy of execution and conveying the nature of the movement.
Battements tendus jetes – size 2/4; tempo - allegro, clear rhythmic pattern (syncopated if possible), emphasis on the weak beat. At the initial stage, squareness and a clear rhythm with an emphasis on “and” are important.
The presence of a takt is necessary from the initial moment of study. Maybe
metrorhythmic decomposition up to a quarter. At the beginning, the tempo in 2/4 time is slow, then fast.
Rond de jambe par terre – size 2/4, 4/4, ¾; character of the melody -
smooth, tempo - andante. Metrorhythmic decomposition is required only for
at the initial stage, if the size is 2/4 (if 4/4 - not necessary). In this case, one movement is made for 1 beat, thus slowing down the tempo.
If the fragment is selected in 2/4, then the tempo should be slow, and if the measure is ¾, it should be faster.
Battements fondues – sizes 2/4 and 4/4; The character of the melody is smooth, the tempos are adagio, largo and andante. At the initial stage, squareness is required,
a certain rhythmic pattern does not matter; a beat is possible.
Metrorhythmic decomposition is required at the initial stage if the size is 2/4 (if 4/4 - not); in this case, one movement is made for 1 beat, thus slowing down the tempo.
Battements frappes – size 2/4; tempo - allegro, clear and small rhythm.
Squareness matters only at the initial stage. A rhythmic pattern is desirable from small durations, better on staccato. There may be a delay. Rhythmically expansion is required more at the initial stage, when the tempo is slow, than when the movement has already been “developed.”
Adagio – size 4/4, ¾; The character of the music is smooth and calm. Pace
execution is slow. This exercise is included in the exercise in the fourth year of study instead of developpe. Squareness is not of decisive importance, just like the rhythmic pattern. Having a backtack is possible, but not required.
Metrorhythmic decomposition is not required. In ¾ tempo
piece of music faster than in 4/4 time.
Anler – size 4/4, 2/4, ¾; the character of the music is smooth, the tempo is adagio.
At the initial stage, squareness is of great importance. The rhythmic pattern is not important. There may be a delay. Decomposition into longer durations is not required due to the slow tempo of the movement. In ¾ time, the tempo of the melody will accelerate, and the character becomes more airy (in 2/4 time, the opposite is true).
Battements developpes – size 4/4, 3/4; the nature of the music is smooth,
calm, tempo adagio, lento. Since this movement precedes adagio, for better assimilation, square musical fragments should be selected.
The rhythmic pattern doesn't matter. It is possible to start the movement from the start.
Metrorhythmic decomposition of musical material is not required. Pace
execution is slow.
Grant battements jetes – size 2/4, ¾; musical character
fragment - cheerful, energetic; tempo from allegretto to allegro moderato. At the initial stage, a clear square is needed. Rhythmic pattern plays
important role. Emphasis on the strong beat is required. In size ¾
the presence of a back-tact is necessary. Decomposition into larger durations is possible at the initial stage of training; the pace varies depending on the technical “advancement” of the students - from slow to fast.
Based on the above, we can formulate the principles by which
guides the accompanist when choosing musical fragments for
exercises with a stick.

At the initial stage of learning, exercises are performed slowly
tempo (one movement per 1 beat).

All movements of classical exercise are divided into slow and fast, with a clear rhythm, and smoothly gliding. And musical fragments are selected according to the same principle: slow (in 4/4, 2/4); with syncopated rhythm (in 2/4, ¾, 4/4); at a moderate tempo (at 2/4 and ¾).

At the initial stage, you should pay attention to improvisational
musical transitions (links) after every four measures (in the form of two or four chords), which are used to change position.

It is necessary to remember about squareness, that is, one movement is made
cross for 4 measures, then there is a change. A musical fragment is divided into phrases, each of which consists of four measures. The complete combination is 4 musical phrases, and thus a complete musical sentence of 32 measures is obtained. When the tempo increases and one movement is made for each beat, the phrase is reduced to 16 bars, but at the same time it must be musically complete.

Introduction to each exercise for which the hands are “opened”,
called preparation. At the initial stage of training, this section can be extensive (8 bars or more), and then short (2 bars and 4 bars).

At the initial stage, exercises are learned on the strong beat. And according to
To memorize them, a beat is necessary, especially for the exercises battements tendus, battements tendus jetes, battements frappes, petit battements.
Therefore, you should immediately select two versions of music for them, with an emphasis on the strong and weak beats, with a fine rhythmic pattern (possibly on staccato).

Movements that emphasize throwing out the legs are selected
musical fragments with an emphasis on the first beat, or you can independently emphasize it during the game. This applies primarily to grand battements jetes.

At the initial stage of learning, when a musical fragment is taken on
2/4 with a small rhythm, it is important to expand it to larger ones
durations, but so that the character of the music does not change.

The tempos of the selected musical fragments should vary according to
different sizes - in different ways. For example, 2/4 - in allegro, andante, largo; ¾ - in adagio, andantino; 4/4 – lento, andante, vivo.

Often the pace is accelerated due to the fact that at the beginning one movement
done for a whole measure, then only on strong beats. Thus, to the same piece of music, the movement can be performed both quickly and at a slow tempo.

Simple combinations should be given simple musical fragments with
a clear melody, in a simple meter, with a simple rhythmic pattern. In cases where more complex meters are used, the square combination is performed in ¾, the tempo is accelerated, but the nature of the music corresponds to the movements (smooth, lyrical or sharp).

. Musical material gradually becomes more complex in each year of study.

At a later stage of learning, when offered for study
more complex options combinations, the accompanist should pay attention to the fact that combinations can be combined. For example, battements tendus is combined with battements tendus jetes - and the musical fragment should consist of two parts, with the second part having a clearer rhythm. If battements fondues are combined with battements frappes, then the first movement is smooth (4/4), and the second with clear sharp accents (2/4).
The musical fragment must correspond to this. There are many variations of such combinations, and the task of the accompanist is to accurately select the fragment so that it musically captures the change in movement. To do this, you need to remember about squareness, tempo, size, beat, rhythmic pattern.

Exercises may include poses. If the musical fragment was in
slow tempo then it doesn't play significant role, especially if the pose is joined at the end. If it is in the middle, then the musical square moves apart. If the musical fragment was fast, then at the moment of the pose it should switch to a smooth lyrical melody at a slow tempo. When any exercise is completed, the departure from the initial position occurs with 2 additional final chords. It should be noted that all the basic exercises of classical pole exercise are performed in the same way in the middle of the hall (but in a more simplified version); later allegro is added to them.

Possible options for selecting a repertoire of musical accompaniment for studying classical exercise at the machine are presented in the Appendix.

Conclusion
The work of an accompanist at an art school includes both purely creative (artistic) and pedagogical activity. Musical and creative aspects are manifested in the work of students of any specialty. The pedagogical side of the activity is especially clearly revealed in working with students of vocal and choreographic classes, and is also to a certain extent assumed in working with performers on string instruments.
The skill of an accompanist is deeply specific. It requires from the pianist not only great artistry, but also versatile musical and performing talents, mastery of ensemble technique, knowledge of the fundamentals of singing art, features of playing various instruments, and also excellent musicalhearing, special musical skills in reading and transposing various scores, and improvisational arrangement on the piano.
The activity of an accompanist requires the pianist to use multifaceted knowledge and skills in courses in harmony, solfeggio, polyphony, music history, analysis of musical works, vocal and choral literature, pedagogy - in their interrelations.

For a teacher in a special class, the accompanist is the right hand and first assistant, a musical like-minded person.
For a soloist (singer and instrumentalist), the accompanist is his confidantcreative affairs; he is an assistant, a friend, a mentor, a coach, and a teacher.Not every accompanist may have the right to such a role - it isis won by the authority of solid knowledge, constant creativecomposure, perseverance, responsibility in achieving the necessaryartistic results when working together with soloists, in their own musical improvement.
Full-fledged professional activity of an accompanist involvesthe presence of a complex of psychological personality qualities, such as a large amount of attention and memory, high performance, mobility of reaction and resourcefulness in unexpected situations, endurance and will, pedagogical tact and sensitivity.
The specifics of the work of an accompanist in a children's art school require special versatility, mobility, and ability, if necessary, toswitch to working with students of various specialties. The accompanist must have a special, selfless love for his specialty, which (with rare exceptions) does not bring external success - applause, flowers, honors and titles. He always remains “in the shadows”, his work dissolves in the general work of the entire team. An accompanist is the calling of a teacher, and his work in its purpose is akin to the work of a teacher.

LITERATURE
1.Abramova O.A. Some features of the accompanist’s work in the special conducting class at the conductor-choir department // Derzhavin Readings. Art history. Social and cultural activities: Materials of the scientific conference of teachers and graduate students. – Tambov: Publishing house of TSU named after. G.R. Derzhavina, 2000. – P. 71-72.

2.. Classical dance / Comp. D. Yarmolovich. - S.-Pb.:Music, 1985. – 148 p.
3. Khaikina T.Ya. Tasks of an accompanist pianist
choreographic class // Results of the review of methodological works
teachers educational institutions culture and art
for 1995-96 academic year. – Tambov, 1997. – P. 110-112.

4. Shenderovich E.M. In the accompanist class: Reflections
teacher – M.: Muzyka, 1996. – 207 p.

Application.

Musical repertoire for classical exercise.

I year of study


Plie M. Kadamtsev “Elegy”
P. Tchaikovsky “Duet of Dressed and the Prince” (formerly “Swan Lake”)
Battemets F. Schubert fragment ("Rosamund")
tendu P. Tchaikovsky “Polka” (D.A.)
Battemets L. Beethoven “Minuet” (dream No. 20GL
Tendus jetes F. Gavrilin “Capriccio”
Rond de jambe P. Tchaikovsky “Waltz” (O. “E.O.”)
Par terre J. Wiese “Habanera”
Petit B. Zakharov “Polka”
battements F. Burgmüller Fragment
Battemets I. Dudayevsky “Moonlight Waltz”
developpe A. Khachaturyan “Andantino”
Grand battemet Ts. Cui "Gallop"
jetes S. Prokofiev “March”
II year of study
Name of the exercise Author and name of the musical fragments used
Plie L. Beethoven “Farewell to the piano”
D. Shostakovich “Romance”
Battemets V. Muradeli “Student Waltz”
tendu M. Glinka “Variations”
Battemets I. Strauss “Polka”
Tendus jetes M. Glinka Fragment (island “Ruslan and Lyudmila”)
Rond de jambe L. Delibes “Waltz” (formerly “Capelia”)
Par terre I. Dunaevsky “Lullaby”
Petit L. Beethoven “Contrance”
battements D. Shostakovich “Hurdy Organ”
Battemets M. Glinka “Nocturne” (Es-dur)
developpe P. Tchaikovsky “Sad Song”
Grand battemet V. Solovyov-Sedoy “March”
jetes J. Wiese Fragment (about “Carmen”)
III year of study
Name of the exercise Author and name of the musical fragments used
Plie D. Verdi “Duet of Alfred and Violetta”
P. Tchaikovsky "Waltz" (b. "Sleeping Beauty")
Battemets A. Dvorak “Humoresque”
tendu A. Rubinstein “Polka”
Battemets F. Chopin "Mazurka" (B)
Tendas jetes B. Asafiev “Dance”
Rond de jambe M. Glinka Fragment (O. “Ruslan and Lyudmila”)
par terre P. Tchaikovsky “Waltz”
Battemets F. Burgmuller "Tarantella"
fondus F. Burgmüller Excerpt
Battemets P. Tchaikovsky Fragment (B. “Swan Lake”)
frappes R. Drigo “Polka”
Anler M. Titov “Waltz”
T. Khrennikov “Waltz”
Battemets A. Lepine “Waltz” (a-moll)
developpe C. Frank Excerpt
Grand battemet R. Schumann Fragment (cycle “Carnival”)
jetes P. Tchaikovsky “Mazurka”
IV year of study
Name of the exercise Author and name of the musical fragments used
Plie Donizetti Excerpt (opera "Norma")
A. Adan Excerpt from a scene (ballet “Giselle”)
Battemets M. Glinka “Children's Polka”
tendu W. Mozart “Rondo in Turkish style”
Battemets M. Glinka “Gallopad”
tendas jetes P. Tchaikovsky “Siegfried Variations” (ballet “Swan Lake”)
Rond de jambe A. Lepine “Waltz” (E-moll)
par terre L. Minkus “Adagio” (ballet “Don Quixote”)
Battemets L. Minkus “Pas de deux” (ballet “Don Quixote”)
fondus P. Tchaikovsky “Sweet Dream”
Battemets K. Karaev “Game”
frappes E. Siegmeister “Hunting”
F. Mendelssohn “Song without words”
L. Beethoven Fragment (dream No. 8)
Adagio F. Chopin “Nocturne” (Cis minor)
developpe Von Flotov Excerpt (opera "Martha")
Grand battemet S. Lajok "Csardas"
jetes Yu. Milyutin Excerpt (opera “Girl Trouble”)
V year of study
Name of the exercise Author and name of the musical fragments used
Plie R. Gliere “Dance”
F. Bach "Awakening of Spring"
Battemets P. Tchaikovsky Excerpt (ballet “The Nutcracker”)
tendu A. Ducomin “Polka”
Battemets N. Sizov “Polka”
tendus jetes D. Shostakovich “Polka”
Rond de jambe V. Zhelobinsky “Waltz”
parterre M. Glinka “Farewell Waltz”
Battemets A. Adan Fragment (ballet “Giselle”)
fondas A. Adan “Willis Dance”
Battemets L. Beethoven "Rondo"
frappes V. Cheap "Gallop"
Adagio B. Asafiev “Waltz of Skaters”
A. Arensky “Waltz” (op34 No. 4)_
Grand battemet A. Rubinstein “Trepak”
jetes N. Rakov “Scherzino”
VI year of study
Name of the exercise Author and name of the musical fragments used
Plie A. Adan Excerpt from a scene (ballet “Giselle”)
D. Verdi "Germont's Aria" (opera "La Traviata")
Battemets A. Adan “Giselle’s Dance” (ballet “Giselle”)
tendu V. Zaslavsky “Polka”
Battemtts A. Adan “Festive Dance”
Tendus jetes C. Lecoq Excerpt (opera "Ango's Daughter")
Ronddejambe R. Gliere “Waltz” (A-dur)
Par terre I. Bayer “Lendler”
Battemets V. Kalinnikov “Elegy”
fondas A. Grechaninov “Waltz”
Battemets F. Schubert "Ecosaise" (op 18a no. 1)
frappes L. Delibes “Pizzicato” (ballet “Sylvia”)
Adagio R. Gliere Excerpt from the ballet “The Red Poppy”
M. Matveev “Waltz”
Grand battemet P. Tchaikovsky “Mazurka”
jetes P. Gliere “Mongolian song”

Mukhametzyanov A.K.,
Kartaly

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METHODOLOGICAL

ALLOWANCE

NOTES

APPLICATION

accompanist

CLASS

CHOREOGRAPHY

FOLK STAGE

DANCE
Rzhev 2015

Content
1. The role of the accompanist in folk stage dance lessons. 2. Requirements for the selection of musical (notation) material for folk stage dance lessons. 3. The main stages of introducing children to musical accompaniment. 4. Selection of musical material for folk stage dance lessons in a choreography class. 5. List of references.

The role of the accompanist in folk stage dance lessons.
The work of an accompanist includes creative (artistic) and teaching activities. The skill of an accompanist is deeply specific. It requires from him not only great artistry, but also versatile musical and performing talents. Full-fledged professional activity of an accompanist presupposes the presence of a complex of psychological personality qualities, such as a large amount of attention and memory, high performance, mobility of reaction and resourcefulness in unexpected situations, endurance and will, pedagogical tact and sensitivity. The art of dance cannot exist without music. Therefore, during classes in choreography classes, two teachers work with children - a choreographer and a musician (accompanist). Children receive not only physical development, but also musical development. The success of working with children largely depends on how correctly, expressively and artistically the accompanist performs the music and conveys its content to the children. Clear phrasing and bright dynamic contrasts help children hear the music and reflect it in dance movements. Music and dance in their harmonious unity are an excellent means of developing the emotional sphere of children, the basis of their aesthetic education. Choreography lessons from beginning to end are based on musical material. The musical arrangement of the lesson should instill in students a conscious attitude towards a piece of music - the ability to hear a musical phrase, navigate the nature of the music, rhythmic pattern, dynamics. Listening to music, the child compares phrases by similarity and contrast, learns their expressive meaning, monitors the development of musical images, forms a general idea of ​​the structure of the work, and determines its character. Children develop primary aesthetic assessments. In choreography classes, students become familiar with the best examples of folk, classical and modern music, and thus their musical culture, their ear for music and imaginative thinking develop, which help them perceive music and choreography in unity during production work. The accompanist unobtrusively teaches children to distinguish pieces different eras, styles, genres. Movements must reveal the content of the music and correspond to it in composition, character, dynamics, tempo, and meter rhythm. Music evokes motor reactions and deepens them; it does not just accompany movements, but determines their essence. Thus, the task of the accompanist is to develop the “musicality” of dance movements. The duties of the accompanist of choreographic classes include:  repertoire selection of musical works for classes, constant expansion of musical baggage and knowledge about the nature of dance, its characteristic features;
 study of experience in the aesthetic education of children in choreographic groups, in particular, in musical development;  acquaintance with new techniques of “moving to music”;  systematic work on the musical development of dancers, because musically educated children are much more expressive in dancing. Effective work in choreographic classes is possible only in the collaboration of a teacher-choreographer and a musician. And here we can talk about a subjective position, because psychological compatibility and the personal qualities of the accompanist and choreographer play a significant role. For true creativity you need an atmosphere of friendliness, ease, and mutual understanding. It is important that the accompanist be a friend and partner. Only from the position of a creative approach is it possible to realize all plans and have high performance in the performing activities of students in choreographic classes.
2.

Requirements

selection

musical

(music)

material

folk stage dance lessons.
The technology for selecting musical works is based on the accompanist’s deep knowledge of systemic choreographic education and assumes:  knowledge of schools and areas of dance art;  knowledge of traditional forms and stages of teaching children choreography;  knowledge of the forms of constructing classes, mandatory improvisational moments;  knowledge of choreographic terminology (in particular, in French). The selection of musical fragments requires the following points:  character;  pace;  metro rhythm (meter, accents and rhythmic pattern);  the form of a musical work (one-part, two-part, three-part, introduction, conclusion). Musical fragments must have the following properties:  square;  a certain rhythmic pattern and tempo;  tempo and metric features. Music to accompany dance exercises must be constantly replenished and diversified, guided by aesthetic criteria and a sense of artistic proportion.
In terms of musical education, the accompanist has the opportunity to teach children the following:  to highlight the main thing in music;  convey different intonation meanings with movement (rhythmic, melodic, dynamic beginning). This can be done at any stage of training: both in exercises and in dance sketches.
3.

Basic

stages

familiarization

children

musical

accompaniment.

First stage– initial acquaintance with a piece of music. The following tasks are set here:  to familiarize students with musical fragments,  to teach them to listen attentively and respond emotionally to the feelings expressed in them. Second phase– formation of skills in the field of musical performance of movements, perception of musical accompaniment in unity with movements. The following tasks are set here:  the ability to perform movements in accordance with the nature of the music,  in-depth perception and transmission of the mood of music in motion,  coordination of hearing and the nature of movements. At this stage, all inaccuracies in performance are identified, errors are corrected, and optimal techniques for performing choreographic tasks are gradually developed. This stage continues for a long time. There is a careful selection of musical material in accordance with the requirements. Third stage– education and consolidation of skills, that is, automation of methods for performing tasks in strict accordance with the character, tempo, and rhythmic pattern of a musical fragment. He sets the following tasks: emotionally expressive performance of exercise exercises, development of independent creative activity of children. At this stage, everything that was practiced during the learning process at the second stage is consolidated; auditory and visual control is reinforced by motor control. The method of performing a task is automated. Students consciously solve problems assigned to them, relying on acquired listening and dancing skills. In the process of systematic work, students acquire the ability to listen to music, memorize and recognize it. They are imbued with the content of the work, the beauty of the form and images. Children develop an interest and love for music. Through musical images, children learn about the beauty in the surrounding reality. The study of folk stage dance begins with exercises at the barre (stick) and continues in the middle of the hall. The selection of musical material for choreography classes is carried out by the accompanist in accordance with the program requirements of the choreographer. Exercise at the machine (stick) consists of specific exercises, each of which has its own
certain musical requirements. In the process of work, one becomes familiar with music and rhythmic patterns using simple musical examples. To develop imaginative thinking, musical examples that are small for perception, but very bright in character and musical coloring, are selected, so that children, after listening to a given piece of music, could create a mini-etude, or embody a specific image to the given music. At the initial stage of training, children are given basic initial ideas about dance. This is done with familiar or simple musical material to make it easier for students to organize their movements in accordance with the music. Further, the combinations become more complex, and the musical material becomes more complex. At the next stage of learning, children again encounter these dances or movements, but with more complex musical material. Musical accompaniment Dance lessons must be very precise, clearly and efficiently organized, since the musical development of students depends on this. The accompanist must very clearly define for himself the tasks of each year of study, and also show not a dry adherence to the recommendations of musical notes for choreography, but an individual and creative approach in selecting the musical design of the lessons. Summing up the above, I would like to once again note the specificity of the work of an accompanist in a choreography class. He must be able to apply his knowledge, demonstrate mastery of technique, while demonstrating artistry and versatile musical and performing talents.
Using

perennial

experience

work

I,

coordinating

With

choreographer,

I'm picking up

mine

musical

(music)

repertoire.

To

find

music suitable for any movement, you have to sort through

a lot of

musical notation

literature.

Having picked up

necessary

musical

material and agreeing it with the choreographer in accordance with the construction

lesson, I created this guide.

A selection of musical material for folk stage lessons

dance in choreography class.

Exercises at the machine.
1.
Plie
– in the character of Ukrainian dance. Musical time signature 4/4. "Ukrainian lyrical"
2.
Battement tendu
- in the nature of Estonian dance. Musical time signature: 3/4. "Linen"
3.
Battement tendu jete
- in character Italian dance. Musical time signature is 6/8. "Tarantella"

4.
Heel battement tendu
- in the nature of Russian dance. Musical size 2/4. “Ah, Samara is a town!” 5.
Flick-flak
- musical size 2/4. "Slovak polka"

6.
Rond de jamb par terre et rond de pied
- in the character of Belarusian dance. Musical time signature is 4/4. "Yurachka"
7.
Battement fondu
- in the character of Moldavian dance. Musical time signature is 6/8. "Hora"
8.
Preparing for the rope
- in the nature of Russian dance. Musical size 2/4. “Like thin ice”
9.
Battement developpe
– in the Hungarian character. Musical size 2/4. "Hungarian folk dance»
10
. Grand battement jet
- – in the Ukrainian character. Musical size 2/4. "Hopak"

Exercises in the middle of the hall.
1. Jump combination.
2. Combination of winders.
3. Jumping picker.
4. Key combination.
5. Combination of ropes.

6. Fraction.

7. Obertas.
8. Hungarian dance etude.
9. Belarusian dance etude.


Diagonal.
1. Running in a turn and hitting the floor.
2. Combination of a winder with a picker.

LIST OF C L I T E R A T U R Y: 1. M. Tovpeko. Pedagogical repertoire of an accordionist (accordionist) grades 3-4 of the Children's Art School. Bryansk. 2005 2. “Beginner course on playing the button accordion.” Compiled by: A. Ivanov. Moscow. Music. 2000 3. “Bayan in music school" Issue 36. Plays for grades 3-4. Saint Petersburg. Composer. 2000 4. Children's school "Bayan 3rd grade". Compiled by: I.D. Alekseev, N.I. Koretsky. Moscow. Kifara.2004 5. Children's school "Bayan 4th grade". Compiled by: I.D. Alekseev, N.I. Koretsky Moscow. Kifara. 2004 6. “Accordion 4th grade.” Training repertoire DMSh. Kyiv. Ukraine is musical. 2001 7. “School of playing the button accordion.” Compiled by: Yu. Akimov Moscow. Music. 2008 8. Album of a beginning accordionist. Issue 33. Moscow. Composer. 2000 9. Reader for an accordionist. Children's music school grades 3-4. Moscow. Music. 2000 10. An accordionist’s anthology. 3-4 grades of children's music school. Moscow. Music. 2000 11. An accordionist’s anthology. Senior classes of children's music school. Moscow. Music.2000 12. Album of a beginning accordion player No. 22. Compiled by: A. Talakin Moscow Composer. 2000 13. Folk melodies for button accordion (accordion). Saint Petersburg. Composer. 2007 14. A. Mirek. Self-instruction manual for playing the accordion. Salon of musical instruments. Accord 2000 15. Folk songs and dances arranged for accordion. Issue 18. Saint Petersburg. Composer. 2008 16. Musical watercolor. Pieces for accordion. Issue 9. Moscow. Composer. 2000 17. To a young musician accordion player. 5th grade children's music school. "Phoenix". Rostov-on-Don. 2010. 18. R. N. Bazhilin. Accordion school. Publishing house of Vladimir Katansky. Moscow. 2008 19. V. Semenov. Modern school of playing the button accordion. "Music". Moscow. 2010 20. An accordionist's anthology. 5th grade children's music school. Compiled by V. Nesterov and A. Chinyakov. Moscow. Music. 2000

The need for a creative union between a choreographer and a musician in the process of designing a dance lesson is obvious and does not require proof. Only close cooperation between the teacher and the accompanist can give the most effective results in shaping the creative thinking of students and nurturing their artistic taste. The accompanist's knowledge of the specifics choreographic art, on the one hand, and the improvement of methods and forms of music education by the choreographer, on the other, makes it possible to achieve genuine creative contact between them in the work on preparing lesson material. Only in this case does it become possible to have a clear, systematic approach to mastering educational material and to develop a unified musical and choreographic concept for constructing a lesson in accordance with the age characteristics of students and their level vocational training. The issues of drawing up a lesson plan, distribution of choreographic material and reasonable dosing of its informative content during the lesson are very important and require consideration.

Having mastered the intended principles of approach to working with musical text You can freely and purposefully navigate the selection of musical material.

The musical design of a lesson should be understood as a musical composition, put into a complete form, built on character, phrasing, rhythmic pattern, dynamics in full accordance with the dance movement and, as it were, merging with it into one whole. This composition should emphasize all the features of the dance movement through its musical characteristics.

Musical design should help students master the technical skills of the choreographic profession and at the same time instill in them a conscious attitude to the laws of musical art, an understanding of the melodic, harmonic, polyphonic, rhythmic, and dynamic logic of musical works.

The choreographer’s ability to understand the constructive patterns of musical compositions and coordinate them with the system of movements in dance is a necessary prerequisite for achieving freedom and meaningfulness in the interpretation of the lesson material. On the other hand, a musician who begins the musical arrangement of a lesson must also have at least basic knowledge in the field of choreography, since without this, genuine contact between the choreographer and the accompanist is unlikely to be possible, and the musical arrangement will be reduced only to formal, mechanical, background accompaniment lesson.

Meanwhile, it is in the living process of the lesson that students comprehend unbreakable ties music and plastic arts, this is where their musical taste is formed. Therefore, the musical material used in the lesson must be carefully selected, tested and have artistic merit. The best examples of folk music, as well as material from the classical heritage and modern musical creativity, should be used as examples.

However, we should not forget that musical design has a dual character: applied and artistic. These two sides complement each other, interacting with each other, but neither of them should prevail over the other. You should not get carried away by the excessive complexity of musical material to the detriment of solving immediate educational and training problems. While maintaining such qualities as imagery, brightness, individuality, national and genre originality, the musical material must at the same time most accurately correspond to the choreographic task, reflecting the features of the rhythmic pattern, dynamics, logic, phrasing inherent in certain movements and elements that form the vocabulary of folk stage dance. In this sense, the musical design of a folk stage dance lesson requires greater care in the selection of material than the design of a classical dance lesson, since in a folk stage exercise the same movements, depending on the national and stylistic coloring, can acquire a completely different manner of performance. For example, in classical dance movements such as plie And developpe traditionally belong to the elements of adagio, are coherent in nature and are performed at a slow tempo. In folk exercise, their execution can be either smooth or jerky, and sometimes both types are combined in one combination. Therefore, in approaching musical design, it is necessary to be guided by the principles of thoughtful selection and compilation of a kind of “music anthology” with numerous variant examples related to the same movement and taking into account not only the general nature of the movement, but also the nature of all its components.

The work of a teacher and accompanist in preparing a folk stage dance lesson requires the presence of a strictly verified compositional plan. The choreographic and musical material of the lesson should be distributed in such a way that the students’ perception is not dulled, and the concentration of attention does not decrease during the lesson. To maintain a single emotional tone and tempo of the lesson, it is advisable to build it according to the principle of contrasting alternation of movements and elements of different nature and tempo. This contrast can manifest itself both at the level of the lesson composition as a whole, and at the level of the relationship between individual elements of dance and musical speech. From the point of view of choreography, we are talking about alternating exercises of different loads, the change of which allows you to involve different muscle groups in the work at the same time. Dynamic, technically complex movements can be combined with elements aimed at developing plasticity and dance ability - of various kinds port de bras, bending, bending the body, etc. It is also common to combine dance movements of different amplitudes in one combination, for example developpe and "ropes" grand battement And battement tendu etc.

From the standpoint of musical design, contrast can be achieved by changing tempo relationships by dividing the combination into two sections (adagio-allegro), due to articulatory differences (staccato-legato), shifts dynamic shades (f-p, crescendo-diminuendo).

In general, the structure of a folk stage dance lesson differs from the structure of a classical dance lesson. In both cases, the exercises performed contribute to the development of certain choreographic skills through gradual inclusion in the work various groups muscles, joints and ligaments. But if in a classics lesson in exercise at the barre almost all movements and elements are already presented (with the exception of jumps and finger exercises, which are later included in complicated versions and in various combinations in etudes in the middle of the hall), then a folk stage dance lesson is built on a slightly different principle. Thus, exercise at the machine contains a number of different movements. Some of them are derived from movements of classical exercise (plie, battement tendu, jete, rond de jambe par terre, fondu, grand battement). Other movements, especially those that include the work of a contracted and free foot, are characteristic specifically of folk stage exercise (these include certain types battement tendu,"rope" pas tortille, flic-flac, double-flic and etc.).

As for the material studied in the middle of the hall, it, unlike the material in a classical dance lesson, is not associated with a specific movement, but is divided mainly by nationality. At first, the elements are taught separately in “pure” form, and then become the basis for constructing detailed dance combinations and etudes. The tasks that confront the teacher-choreographer and musician-designer at this stage suggest a different, more high level understanding of musical and choreographic material.

In general, it should be noted that in terms of composition, both exercises at the barre, and, in particular, combinations in the middle of the hall in folk stage exercise are different to a greater extent complexity than a combination of a classical dance lesson. In particular, as already mentioned, it is not uncommon in folk stage dance to combine movements of different tempo and character in one dance combination - for example, a slow port de bras and fast flic-flac, smooth port de bras bends of the body and energetic “rope”, fondus u pas tortille. This also influences the musical structure in a certain way, giving it the features of two and three parts.

Wherein port de bras can be included in a combination, both as an independent section and as an integral part of the combination.

In any case, in the selection of musical accompaniment, the accompanist must, first of all, be consistent with the logic of constructing a dance combination, striving for unity and interaction of the principles of organization of choreographic and musical material.

Moving directly to the characteristics of the qualities inherent in the material of a folk dance lesson, it should be noted that, in comparison with the material of a classical dance lesson, there is greater stylistic and genre diversity. When formulating the main criteria for selecting musical material for a lesson, it is worth, first of all, pointing out the need for the selected musical fragments to correspond to the style national characteristics and the nature of the dance movements and elements being studied.

The composition of a folk stage performance always expresses a specific national identity with its characteristic tempo-rhythmic features (length, sharpness, syncopation, etc.). These features are embedded in the musical material on the basis of which the dance composition is created.

In addition to such qualities as predominant reliance on melodic thematics, clarity of metro-rhythmic formulas, variety of textural techniques, structural clarity and completeness, laconicism and accessibility, the musical material of a folk stage dance lesson should also have a pronounced national coloring. The same movements can be interpreted in different ways depending on the given character in which they are performed - Spanish, Hungarian, Polish, Russian, Gypsy, etc.

If in the design of a classical dance lesson a musician relies mainly on the style models of classical music with such inherent features as regular rhythmic emphasis, squareness, strict metric ordering, then in the design of a folk stage dance lesson the accompanist is less constrained by the framework of classical canons. In folk stage dance, based on folklore traditions, non-square formations and odd combinations of beats are freely used. The principle of symmetry here is often violated or interpreted quite arbitrarily.

In classical dance, during its existence, certain traditions have developed, going beyond the boundaries of which is unacceptable from the point of view of the aesthetics of classical dance. Folk stage dance is a phenomenon that is constantly developing due to the assimilation of features of the musical and dance cultures of various countries and nationalities. This makes it possible and acceptable to enrich the style of folk stage dance, including through the inclusion of elements of the vocabulary of modern everyday dance.

In the musical design of the lesson, these new trends and new directions can manifest themselves in expanding the genre and style range of musical works - from the use of archaic musical and folklore layers to the implementation of the features of jazz musical culture, the impact of which is manifested in the diversity and richness of the timbre palette with the widespread use of percussion and decorating tools. And also - in increasing the role of rhythm as a formative factor.

Creative rethinking of existing stereotypes in the interpretation of folk stage dance opens up new opportunities for self-expression for the teacher-choreographer and musician.

At the same time, in the selection of material, the musician-designer must be guided by the principle of combining unity and diversity while necessarily preserving in the arrangement the style and genre features of the musical source, be it folk dance or a product of professional composing.

A very important issue in the joint work of a teacher-choreographer and an accompanist is the choice of musical design methods. Here, both the pre-selection method and the method of using material improvised by the musician-designer of the lesson are possible. Both methods have a right to exist. The pre-selection method involves adapting ready-made musical samples to a choreographic training task. Here the accompanist is protected from technical and stylistic errors that inevitably arise when using the improvisational method. But, on the other hand, this method to some extent fetters freedom of action, since the number of musical examples is still limited, and the musician is forced to repeat himself. To avoid frequent repetitions, you can resort to introducing elements of the improvisational method into musical design practice.

This method, so widespread in classical dance lessons, acquires its own specificity in the design of a folk stage exercise. Here, mainly song and dance material of folk music is used as material for improvisation. Reliance on folklore samples makes it possible to achieve greater flexibility, “adaptability” of musical material to the requirements of the teacher in the live process of the lesson, since “variability” is inherent in the very nature of dance folklore.

Variation and variability are not the only principles of organizing musical material. The principle of suiteness is becoming no less frequent in the construction of combinations and etudes.

When considering individual exercise movements, it is necessary, first of all, to understand their character and musical-rhythmic pattern, and also to determine which moments in a particular movement are fundamental and which are passing; what musical beat is the main emphasis in the movement, etc. At the same time, you should not, at all costs, achieve synchronicity between music and movement. Music should, as it were, “accompany” the dance movement, revealing all its features and potential capabilities, and not squeeze it into the framework of a single metric grid - otherwise the musical design becomes monotonous and schematic. On the contrary, the musical rhythm can, without precisely coinciding with the rhythm of the dance movement, “counterpoint” with it, which contributes to the emergence of two rhythmic plans that complement each other - dance and musical. Examples of this kind can often be found in combinations of tapping movements, where smooth, slow work of the hands is accompanied by fractional, rhythmically rich movements of the legs.

The same goes for phrasing. Dance and musical phrasing are related to each other by placing logical accents in the narrative fabric with the help of musical cadences, caesuras, and pauses. In this case, it is necessary to achieve constructive consistency between dance and musical phrases.

In educational practice, there are two ways to musically arrange folk dance lessons: musical improvisation and the use of sheet music.

Musical improvisation is used quite widely in folk dance classes. Teacher in his daily work He also improvises, composing combinations of exercises at the barre or in the middle of the hall.

The accompanist is the direct assistant to the teacher. Knowing the character, rhythm, national coloring and constituent elements choreographic training task, he can suggest the appropriate theme, time signature and accents of the musical accompaniment. The exercise is almost entirely musical improvisation. In dance combinations, improvisation alternates with a ready-made musical form.

Improvisation must strictly obey the pattern of the combination given by the teacher, and have a certain rhythmic pattern corresponding to the nature of the movements.

The rhythm of the music should be very clear 2/4 or 4/4, or 3/4, and the musical theme should be as abstract as possible, since it should not call the imagination to active action.

All combinations of the lesson should be built taking into account a musical phrase (bar squareness) of various durations (4 t-t, 8 t-t, 32 t-t, etc.) It is possible to build exercise combinations at the barre and in the middle of the hall for one and a half phrases: 12 t-t, 24 t-t, etc.

First, the simplest musical rhythms are mastered.

At the initial stages of learning, music should be simple and clear in all respects, understandable and close to the psychology of students. For advanced students, music is chosen whose content is richer in intonations and complex rhythmic patterns.

Dance is inextricably linked with music. By giving a certain tempo, meter, and rhythmic pattern, music reveals and emphasizes the characteristic features of movement. Folk dance lessons provide targeted musical education, with attention paid not only to the development of rhythm, but also to the emotional and effective connection between music and dance.

A dancer’s musicality consists of three interconnected performing components:

The ability to correctly coordinate your actions with the musical rhythm;

The ability to consciously and creatively perceive the theme-melody;

The ability to convey a plastically perceived theme-melody.

Musical education in a folk dance lesson is about deepening the internal connection between music and dance. This is usually facilitated by the good musical taste of the accompanist and teacher.

The fusion of the emotional and expressive qualities of a choreographic exercise and its musical basis is facilitated by the proper performance of musical material. Flirt musical themes should not be done, as emotional acuity is lost.

“Notebooks” claim that they train the student’s ear to perceive samples of musical literature and form musical taste. But not all musical literature Suitable for lesson design: you often see one thing and hear another. The experience and erudition of the accompanist and his “choreographic abilities” are needed. Often, excellent musicians, accompanying folk dance lessons, are helpless. They lack the sense of movement.

Improvisers are very sensitive; they accurately reproduce what the teacher suggests. Playing underfoot, these professionals know their business well and all the subtleties in it. Sometimes they deviate from the normal pace in the name of ensuring that students perform the training examples correctly in the future.

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Municipal government educational institution

additional education for children

"Manturovo Children's Art School"

Essay

on the topic “Principles of selection of musical material for folk stage dance lessons”

Choreography teacher

Bolotova Natalya Ivanovna

With. Manturovo

2. Aspects of the activity of an accompanist

4. Requirements for musical material in folk dance classes

Conclusion

1. The accompanist is a full participant creative process

Dance is born from music, so the role of those who create this music is great.

The accompanist is a full participant in the creative process, a co-author of the teacher. In addition to mastering the technique of performance, the choreography accompanist must know and understand the technology of movement, help students hear the music and, having felt it with their muscles, translate it into movement, and create an emotional atmosphere for the lesson.

Let us list the knowledge and skills necessary for a choreography accompanist to begin professional activities at a children's art school:

· knowledge of the basics of choreography in order to correctly organize musical accompaniment for dancers; awareness of basic movements, ability to simultaneously play and see dancers; the ability to lead an entire ensemble of dancers; the ability to improvise (select) conclusions and conclusions necessary in the educational process in choreography classes;

· ability to choose a melody and accompaniment “on the fly”; improvisation skills, that is, the ability to play the simplest stylizations on folk themes, without preparation, texturefully develop a given theme, select by ear harmonies for a given theme in a simple texture;

· knowledge of the history of musical culture.

2. Aspects of the activity of an accompanist at an art school

One of the important aspects of being an accompanist is the ability to “sight read” fluently. You cannot become a professional accompanist if you do not have this skill. In the educational practice of the Children's School of Music, there are often situations when the accompanist does not have time to first familiarize himself with the musical text. In addition, the abundance of repertoire in work with students of different specialties does not create conditions for memorizing texts and they always have to be played by notes. The accompanist is required to quickly navigate the musical text.

Before starting to accompany from sight, the musician must mentally comprehend the entire musical text, imagine the character and mood of the music, and determine the basic tonality and tempo. Mentally reading the material is an effective method for mastering sight reading skills. However, the moment of mental grasp of the musical text precedes the game in the process of accompaniment, since the reading of notes always precedes their execution.

The specifics of the work of an accompanist in an art school presuppose the desirability, and in some cases the necessity, of possessing such skills as selecting accompaniment to a melody by ear, elementary improvisation of introductions, performances, and conclusions.

For an accompanist, the ability to play by ear makes it possible to free up attention (take your eyes off the notes) in order to keep the dancers in sight. If there is a contradiction between playing from the notes and the need for constant visual control of the moving group, the accompanist makes his task easier by accompanying by ear, partially improvising the author’s and his own version of the accompaniment, which frees him from the constraining attachment to musical text. The ability to improvise musical inserts, introductions and conclusions (for the moments of exit, restructuring of the dance group, in the nature of the accompaniment performed is absolutely necessary for the successful conduct of choreography classes.

3. Music and dance are a means of developing the emotional sphere of children

lesson choreography dance musical

Let's consider the activities of an accompanist working with children of different age groups in choreography classes. The art of dance cannot exist without music. Therefore, during classes in choreography classes, two teachers work with children - a choreographer and an accompanist. Children receive not only physical development, but also musical development. Important role During the education process, musical accompaniment is played, which is the basis for each lesson.

The success of working with children largely depends on how correctly and expressively the accompanist performs the music and conveys its content to the children. Clear phrasing and bright dynamic contrasts help children hear the music and reflect it in dance moves. Music and dance in their harmonious unity are an excellent means of developing the emotional sphere of children, the basis of their aesthetic education.

Undoubtedly, classical dance plays the main role in the choreography.

It is in classical dance lessons that body positioning, turnout, arm and leg positions are developed, therefore, when children come to a folk dance class, they already have some skills in choreography, which significantly helps them in mastering a new subject.

4. Requirements for musical material in folk dance classes

Folk stage dance is one of the main subjects of a special cycle of choreographic disciplines, expanding and enriching the performing capabilities of students. At folk stage dance lessons, children get acquainted with the dances of peoples of different nationalities. Since one of the main tasks of a folk stage dance teacher is to teach students to accurately and expressively convey the national character of the dance, the musical material should be bright, colorful and rhythmically comfortable.

Folk dance is organically connected with music. She imparts expressiveness and completeness to every movement. The basic principles of musical design of a lesson are the correspondence of the music to the nature of the movement, its tempo, rhythm, and style. The selection of musical works is carried out taking into account the nature of movements and music. She imparts expressiveness and completeness to every movement.

Folk dance lessons from beginning to end are based on musical material. Bowing and transitioning from one exercise to another should be musically designed so that students get used to organizing their movements according to the music. The musical material must correspond to the movement in character, style, and national coloring. The musical arrangement of the lesson should instill in students a conscious attitude towards piece of music- the ability to hear a musical phrase, navigate the nature of the music, rhythmic pattern, dynamics. Listening to music, the child compares phrases by similarity and contrast, learns their expressive meaning, monitors the development of musical images, forms a general idea of ​​the structure of the work, and determines its character. Children develop primary aesthetic assessments. In folk stage dance classes, students, getting acquainted with the dances of peoples of different nationalities, become familiar with the best examples of folk music, thus forming their musical culture, developing their ear for music and imaginative thinking, which help them perceive music and movement in unity during production work . The accompanist unobtrusively teaches children to distinguish the character of a musical piece.

5. Objectives of music education

Movements must reveal the content of the music and correspond to it in composition, character, dynamics, tempo, and meter rhythm. Music evokes motor reactions and deepens them; it does not just accompany movements, but determines their essence. Thus, the task of the accompanist is to develop the “musicality” of dance movements.

In the process of teaching choreography, the following tasks of musical education are carried out:

· development musical perception metrorhythm;

· rhythmic execution of movements to music, the ability to perceive them in unity;

· ability to coordinate the nature of movement with the nature of music;

· development of imagination, artistic and creative abilities;

· increasing students’ interest in music, developing the ability to perceive it emotionally;

· expanding the musical horizons of children.

There are always objective difficulties in the work of an accompanist. He has to work with children of different ages (from beginning schoolchildren to graduates), with teachers of different dance styles - classical choreography, folk and modern dance. Filling each lesson with music, in accordance with the age of the dancers, the repertoire of a given age category and dance direction, is not easy. There is only one way - constant improvement, a serious creative approach to work.

The duties of the accompanist of choreographic classes include:

· repertoire selection of musical works for classes, constant expansion of musical baggage and knowledge about the nature of dance, its characteristic features;

· study of work experience in the aesthetic education of children in choreographic groups, in particular, in musical development;

· familiarization with new techniques of “moving to music”;

· systematic work on the musical development of dancers, because musically educated children are much more expressive in dancing.

6. Creative collaboration between teacher-choreographer and musician

Effective work in choreographic classes is possible only in the collaboration of a teacher-choreographer and a musician. The teacher and accompanist must be in creative contact and have a good knowledge of the choreographic and musical material of each lesson. And here we can talk about a subjective position, because psychological compatibility and the personal qualities of the accompanist and choreographer play a significant role. For true creativity you need an atmosphere of friendliness, ease, and mutual understanding. It is important that the accompanist be a friend and partner. Only from the position of a creative approach is it possible to realize all plans and have high performance in the performing activities of students in choreographic classes.

The teacher-choreographer programs and plans work in choreographic classes. The accompanist often has to work with several teachers, and most often the accompanist comes to a ready-made program. Thematic planning of educational material on choreography is also done by the teacher. The accompanist must know the program, the plan of each year of study, and the plan of each lesson. Co-creation between the teacher-choreographer and accompanist is necessary in all areas (planning, implementation of educational and production programs). The arrangement of the classes does not depend on the accompanist, it is up to the choreographer to decide. But what the return will be, on what emotional level they will take place, largely depends on the musician, on the music he has selected and offered.

Music to accompany dance exercises must be constantly replenished and diversified, guided by aesthetic criteria and a sense of artistic proportion. Constantly playing the same works during lessons leads to mechanical, unemotional performance of exercises by dancers. The other extreme is also undesirable: changing accompaniments too frequently distracts students’ attention and does not contribute to their assimilation and memorization of movements.

7. Methods and techniques for the musical development of students in choreography lessons

Musical development in choreography lessons is carried out using certain methods and techniques. The primary source of knowledge is music itself, only it awakens a person’s “musical” feelings. First, work begins on gaining experience in listening to music. The second source of knowledge is the word of the teacher and accompanist, which leads to the understanding and perception of the musical image of specific musical works. The third source is the direct musical and dance activities of the children themselves.

To develop the “musicality” of performing a dance movement, the following work methods are used:

· visual-auditory (listening to music while the teacher demonstrates movements);

· verbal (the teacher helps to understand the content of a musical work, awakens the imagination, promotes creative activity);

practical (specific activities in the form of systematic exercises)

The main musical idea embedded in the work is melody, the basis of music. The most important element of music is rhythm. Another characteristic feature is the alternation of heavy sounds with lighter ones - this is the concept of meter in music. Tempo as speed is fundamentally the same in both music and dance. Dancing children should know, understand, and identify all these characteristics. And this is the basics of musical literacy. Rhythm, melody, meter, harmony, timbre - together they make up the language of music, and the accompanist teaches children to understand it. A subtle sense of music perception develops in children during the organic combination of movement and musical phrase (beginning and ending). The accompanist teaches the execution of “commands”: the beginning of the melody - the beginning of the movement, the end of the melody - the end of the movement. The ability to fit into a musical phrase is developed.

8. The main stages of introducing children to musical accompaniment at folk stage dance lessons

Let's consider the main stages of introducing children to musical accompaniment in folk stage dance lessons.

The first stage is an initial acquaintance with a piece of music. Here the tasks are set: to familiarize students with musical fragments, teach them to listen attentively and respond emotionally to the feelings expressed in them, and be able to accurately perform the introduction.

The auditory, visual and motor analyzers are involved in the process of mastering new musical material. Therefore, the material is given in a holistic form, and not fragmented. The teacher-choreographer demonstrates movements to musical accompaniment (the first stage - one or two lessons).

The second stage is the formation of skills in the field of musical performance of movements, perception of musical accompaniment in unity with movements. The tasks set here are: the ability to perform movements in accordance with the nature of the music, in-depth perception and transmission of the mood of music in motion, coordination of hearing and the nature of movements. At this stage, all inaccuracies in performance are identified, errors are corrected, and optimal techniques for performing choreographic tasks are gradually developed. This stage continues for a long time. There is a careful selection of musical material for each movement in accordance with the requirements (squareness, rhythmic pattern, character of the melody, presence of a beat, meter-rhythmic features, tempo, size).

The third stage is the formation and consolidation of skills, that is, the automation of methods for performing tasks in strict accordance with the character, tempo, and rhythmic pattern of a musical fragment. It sets the following tasks: emotionally expressive performance of exercises, development of independent creative activity of children. At this stage, everything that was practiced during the learning process at the second stage is consolidated. Auditory and visual control is reinforced by motor control. The method of performing a task is automated. Students consciously solve problems assigned to them, relying on acquired listening and dancing skills. In the process of systematic work, students acquire the ability to listen to music, memorize and recognize it. They are imbued with the content of the work, the beauty of the form, and the brightness of the images. Children develop an interest and love for music. Through musical images, children learn about the beauty in the surrounding reality.

Studying folk stage dance usually begins with learning exercises at the barre, but unlike classical dance, the exercises here are much simpler. A folk dance lesson, especially at the beginning of training, is not built right away. Gradually, training combinations are formed from individual elements and movements. The selection of musical material for classes is carried out by the accompanist in accordance with the program requirements of the choreographer. Exercises at the barre consist of specific exercises, each of which has its own specific musical requirements.

In the first year of training in folk stage dance, children are given basic initial ideas about it. At the initial stage, this is done on familiar or simple musical material, so that it is easier for students to organize their movements in accordance with the music. Further, the combinations become more complex, and the musical material becomes more complex.

The musical accompaniment of dance lessons must be very accurate, clearly and efficiently organized, since it depends on musical development students. The accompanist must very clearly define for himself the tasks of each year of study, and also show not a dry adherence to the recommendations of musical notes for choreography, but an individual and creative approach in selecting the musical design of the lessons.

9. Principles of selecting musical fragments for exercises at the barre

Let us dwell on the principles of the accompanist's approach to the selection of musical fragments for exercises at the barre, which throughout the entire training has a certain set of elements that are studied from year to year, but, as they are mastered, they constantly become more complex and combined. The musical arrangement of folk stage dance lessons should be very diverse in both melody and rhythm. The nature of the rhythms often changes during the lesson. When learning a new movement or its individual elements, the rhythm should be simple, the melody should be uncomplicated and accessible. Then, in the process of work, the musical material becomes more complex, the rhythmic pattern within the measure becomes more complex, and the shape and size of the musical fragment changes. In addition to the use of sheet music, musical improvisations by the pianist are possible and desirable.

Musical fragments for exercises at the barre must have the following properties:

· Squareness.

At the initial stage, it is very important that the work can be divided into squares. This means that one movement is made 4 times: with a cross - forward, to the side, back, to the side. A square consists of measures in 2/4 or 4/4 time. Later, as the dance technique is acquired, the tempo accelerates, but the squareness remains.

· A certain rhythmic pattern and tempo.

To perform movements such as slow squats, circular movements of the leg, the rhythmic pattern does not matter much, but the tempo does. It should be slow and the melody should be lyrical, as the movements are performed smoothly and slowly. To perform exercises on foot mobility and small throws, a clear rhythmic pattern is required, as well as the presence of a syncopated rhythm. These movements are performed at a fast tempo in eighth notes; musical fragments must contain sixteenth and eighth notes (2/4 or 4/4 time when performed slowly).

· Availability of beats.

Any beat is of no small importance in the execution of the movement; in addition, it determines the tempo of the entire exercise. At the initial stage, when the movement is learned and performed on the strong beat, the beat does not play a decisive role, since the movements at this stage are performed at a slow tempo in squares on the strong beat. In the future, this quality plays an important role. Any upbeat, in addition to determining the tempo of the exercise, makes the musical fragment clearer, activates the exercises, emphasizing the weak beat. The upbeat can be used in all exercises, as it is easier to start the movement from there.

· Tempo features.

When accompanying a lesson, the musical tempo is determined by the frequency at which the pulsation coincides with certain moments of movement. Students and the accompanist know the basic tempo of the combination in advance, because the nature and characteristics of the elements imply a certain tempo of execution. The tempo is constantly adjusted by the teacher and accompanist. The most important indicator of tempo for an accompanist is the movements of the legs, because movements of the hands and head are most often smooth, leading or lagging.

The pace of support is determined by the following factors:

· multilevel nature of training. On early stage mastering the exercises, all movements are performed slowly. Gradually the pace accelerates.

· the nature and method of performing the movements themselves. Smooth elements are performed slowly, active and sharp elements are performed at a more agile pace.

· Metro-rhythmic features.

If necessary, dance movement can be represented in any musical meter. What is important is the standard way of performing the movement in relation to the downbeat (“from the beat” or “at once”).

10. Selection of musical fragments for basic exercises at the barre

Squats - size 4/4, 3/4, 2/4 music smooth, tempo - moderato. The fragment must be square; the presence of an even rhythmic pattern does not matter. It is desirable to have a backtact.

Exercises to develop foot mobility - time signature 2/4 34 character of the music - clear, cheerful, allegro or allegretto tempo. For a musical fragment, squareness is desirable. The rhythmic pattern is of great importance. In addition, the possibility of metrorhythmic decomposition is important. At the initial stage, the movement is done at 2/4 and 4/4 at a slow pace, then at 2/4 at a fast pace. The timing and its emphasis are also of great importance for the accuracy of execution and conveying the nature of the movement.

Small throws - size 2/4; tempo - allegro, clear rhythmic pattern (syncopated if possible). At the initial stage, squareness and a clear rhythm with an emphasis on “and” are important. The presence of a takt is necessary from the initial moment of study. Metrorhythmic decomposition up to a quarter is possible. At the beginning, the tempo in 2/4 time is slow, then fast.

Circular movements with the foot - size 2/4, 4/4, 3/4; the character of the melody is smooth, the tempo of performance is moderate, but as the movements are mastered, it increases. Metrorhythmic decomposition is required only at the initial stage if the size is 2/4 (if 4/4 is not necessary). In this case, one movement is made for 1 beat, thus slowing down the tempo. If the fragment is selected in 2/4, then the tempo should be slow, and if the size is 3/4, it should be faster.

Heel exercises - size 2/4, the character of the melody is bright, cheerful, the tempo is allegro, a clear rhythmic pattern is required. The squareness matters, the tapping is possible.

Low and high foot turns - size 2/4, 4/4 and 34, the character of the melody is smooth, the tempo is moderato. At the initial stage, squareness is required, a certain rhythmic pattern does not matter, a beat is possible. Metrorhythmic decomposition is required at the initial stage if the size is 2/4 (if 4/4 - not); in this case, one movement is made for 1 beat, thus slowing down the tempo.

Fractional tapping - size 2/4, 3/4 The nature of the melody is bright, cheerful, tempo moderato, a clear rhythm is necessary. Squareness matters. Possible contact.

Exercises with a relaxed foot - size 2/4; tempo - moderato clear rhythm. Squareness matters only at the initial stage. A rhythmic pattern is desirable from small durations. There may be a delay. Rhythmically expansion is required more at the initial stage, when the tempo is slow, than when the movement has already been “developed.”

Preparation for the rope size 2/4, tempo-allegretto, moderato. The character of the music is bright, cheerful. The rhythmic pattern is clear. Square musical fragments should be selected.

Leg opening 90 - size 4/4, 3/4; the nature of the music is smooth, calm, moderato tempo, perhaps allegro moderato. For better assimilation, you should select square musical fragments. The rhythmic pattern doesn't matter. It is possible to start the movement from the start. Metrorhythmic decomposition of musical material is not required.

Large throws - size 2/4, 3/4; the character of the musical fragment is cheerful, energetic; tempo from allegretto to allegro moderato. At the initial stage, a clear square is needed. The rhythmic pattern plays an important role. Emphasis on the strong beat is required. In 3/4 time, the presence of a beat is necessary. Decomposition into larger durations is possible at the initial stage of training; The pace varies depending on the technical “advancement” of the students - from slow to fast.

Based on the above, we can formulate the principles that guide the accompanist when choosing musical fragments for exercises at the barre.

· At the initial stage of learning, exercises are performed at a slow pace (one movement per 1 beat).

· All exercise movements at the machine are divided into slow and fast, with a clear rhythm, and smoothly sliding. And musical fragments are selected according to the same principle: slow (in 4/4, 2/4); with a syncopated rhythm (in measures 2/4, 3/4, 4/4); at a moderate tempo (at 2/4 and 3/4).

· It is necessary to remember about squareness, that is, one movement is made with a cross for 4 beats. A musical fragment is divided into phrases, each of which consists of four measures. The complete combination is 4 musical phrases, and thus a complete musical sentence of 32 measures is obtained. When the tempo increases and one movement is made for each beat, the phrase is reduced to 16 bars, but at the same time it must be musically complete.

· Preparation for each exercise for which the hands are “opened” is called introduction. At the initial stage of training, this section can be extensive (8 bars or more), and then short (2 bars and 4 bars). All introductions should be performed exactly in accordance with the tempo and character of the selected music.

· At the initial stage, exercises are learned on the strong beat. And as you memorize them, a tact is necessary, especially for exercises to develop the foot and small throws. Therefore, you should immediately select two versions of music for them, with an emphasis on the strong and weak beats, with a fine rhythmic pattern.

· For movements that emphasize the kicking of the leg, musical fragments are selected with an emphasis on the first beat, or you can independently emphasize it during the game. This applies primarily to large throws.

· At the initial stage of learning, when a musical fragment is taken in 2/4 with a small rhythm, it is important to decompose it into larger durations, but so that the character of the music does not change.

· Often the tempo is accelerated due to the fact that at the beginning one movement is performed for a whole measure, then only for strong beats. Thus, to the same piece of music, the movement can be performed both quickly and at a slow tempo.

· For simple combinations, you should give simple musical fragments with a clear melody, in a simple meter, with a simple rhythmic pattern. In cases where more complex meters are used, the square combination is performed in 3/4, the tempo is accelerated, but the nature of the music corresponds to the movements (smooth, lyrical or sharp).

· Musical material gradually becomes more complex in each year of study.

· At a later stage of training, when more complex combination options are offered for study, the accompanist should pay attention to the fact that combinations can be connected. For example, exercises to develop foot mobility are combined with small throws, etc. There are many options for such combinations, and the accompanist’s task is to accurately select a fragment so that the change in movement is musically captured in it. To do this, you need to remember about squareness, tempo, size, beat, rhythmic pattern. When performing combinations, the close connection between music and movement becomes of great importance. Smooth, melodious music communicates special expressiveness smooth, continuous movement. A cheerful, lively, clear rhythm emphasizes the lightness, clarity, and cheerfulness of movements in folk dance.

Conclusion

So, the basic principles of musical design of a folk stage dance lesson are the correspondence of the music to the nature of the movement, national color, its tempo, rhythm, style. The selection of musical works is carried out competently, taking into account the nature of the movement and music.

Based on the above, the accompanist will make right choice when the lesson is musically arranged, then folk dance will help children enjoy life and movement in it and will become the most interesting and fun lesson.

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MANUAL FOR THE ACCOMPATISH MASTER

IN THE CHOREOGRAPHY CLASS

BY

FOLK STAGE DANCE

From the experience of an accompanist

Municipal educational institution lyceum "MOK No. 2"

Dzhankoy, Crimea, Russia

Kaidalov Andrey Arkadevich

The role of the accompanist in folk stage dance lessons.

The art of dance cannot exist without music. Therefore, during classes in choreography classes, two teachers work with children - a choreographer and a musician (accompanist). Children receive not only physical development, but also musical development. The success of working with children largely depends on how correctly, expressively and artistically the accompanist performs the music and conveys its content to the children. Clear phrasing and bright dynamic contrasts help children hear the music and reflect it in dance movements. Choreography lessons from beginning to end are based on musical material. The musical arrangement of the lesson should instill in students a conscious attitude towards a piece of music - the ability to hear a musical phrase, navigate the nature of the music, rhythmic pattern, dynamics. In choreography classes, students become familiar with the best examples of folk, classical and modern music, and thus their musical culture is formed, their ear for music and imaginative thinking develop, which help them perceive music and choreography in unity during production work. The accompanist unobtrusively teaches children to distinguish works of different eras, styles, and genres.

Effective work in choreographic classes is possible only in the collaboration of a teacher-choreographer and a musician. It is important that the accompanist be a friend and partner. Only from the position of a creative approach is it possible to realize all plans and have high performance in the performing activities of students in choreographic classes.

The study of folk stage dance begins with exercises at the barre and continues in the middle of the hall. The selection of musical material for choreography classes is carried out by the accompanist in accordance with the program requirements of the choreographer. Exercise at the barre consists of specific exercises, each of which has its own specific musical requirements. In the process of work, one becomes familiar with music and rhythmic patterns using simple musical examples. To develop imaginative thinking, musical examples that are small for perception, but very bright in character and musical coloring, are selected, so that children, after listening to a given piece of music, could create a mini-etude, or embody a specific image to the given music.

The musical accompaniment of dance lessons must be very precise, clearly and efficiently organized, since the musical development of students depends on this. The accompanist must very clearly define for himself the tasks of each year of study, and also take an individually creative approach in selecting the musical accompaniment of the lessons.

The manual includes mainly Russian, as well as Ukrainian, Belarusian, Estonian, Moldavian, Italian, and Hungarian music, arranged for accordion or accordion. Musical material accompanies exercise exercises at the barre and in the middle of the hall. Musical examples correspond to the nature of the dance combinations. Slow, smooth exercises alternate with fast and precise ones. The musical material corresponds to the order of exercises at the barre and in the middle of the hall throughout the lesson.

A selection of sheet music for folk stage dance lessons in a choreography class.

Exercises at the machine.

1. Plie – in the character of Ukrainian dance. Musical time signature is 4/4.

"Ukrainian lyrical"

2. Battementtendu - in the nature of Estonian dance. Musical time signature: 3/4.

"Linen"

3. Battementtendujete - in the character of Italian dance. Musical time signature is 6/8.

"Tarantella"

4. Heeled battementtendu

“Ah, Samara is a town!”

5. Flik – flak - musical size 2/4.

"Slovak polka"

6. Ronddejambparterreetronddepied - in the character of Belarusian dance. Musical time signature is 4/4.

"Yurachka"

7. Battement fund - in the character of Moldavian dance. Musical time signature is 6/8.

"Hora"

8. Preparing for the rope - in the character of Russian dance. Musical size 2/4.

“Like thin ice”

9. Battementdeveloppe – in the Hungarian character. Musical time signature is 2/4.

"Hungarian folk dance"

10 . Grandbattementjete - – in the Ukrainian character. Musical size 2/4.

"Hopak"

Exercises in the middle of the hall.

Jump combination.

Winder combination.

3. Picking wheel on jumps.

1. Key combination.

Combination of ropes.

Fraction.

Obertas.

Hungarian dance etude.

Belarusian dance etude.

Diagonal.

Running around a turn and hitting the floor.

2. Combination of a winder with a picker.

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