Specifics of working in a wind ensemble. Characteristic shortcomings of staging for beginning musicians
INTRODUCTION
The relevance of research
Democratic transformations in Kazakhstan determine the direction of the political, economic and cultural life of the country, in which the ideas of humanism and respect for the individual become guiding principles in matters of education. Today, the principles of developmental education allow us to reach a higher level of specialist training. The ideal is a person with rich spiritual potential, knowledge, skills and abilities not only in a highly specialized field, but also in various fields of science and culture.
Primary music education plays a special role in the spiritual development of the younger generation, since introducing children to the art of music helps solve problems of moral and, in general, artistic education. Music and art schools, in addition to carrying out an educational function, become for some students the basis for preparing for professional activity. Therefore, the success in becoming a future performer depends on the quality of initial musical education. Among instrumental classes, wind instrument classes are one of the most popular.
Formation of skills in playing wind instruments is a fundamental part in the performing skills of a wind musician. Correctly developed initial skills in playing wind instruments will allow a music school student to master a wind instrument with minimal costs and with greater efficiency. In modern times, the school of playing wind instruments never ceases to receive updates. Therefore, it is important for the teacher to clearly define the methodological direction of work with the student and thereby optimize the learning process.
Object of study – music training and education of students in the clarinet class of the Children's Music School.
The subject of the study is the process of developing performing skills of children's music school students in the clarinet class.
Purpose of the study consists of developing theoretical and methodological foundations for the formation of performing skills of clarinet students in a children's music school.
Research hypothesis
The effectiveness of learning to play the clarinet can be achieved if:
1) The theory and methodology of teaching the clarinet interacts with general pedagogy in the theory of training and education;
2) Pedagogical creativity Kazakhstani clarinet teachers reflect and partially anticipate current problems of modern music pedagogy;
3) Generalization, structuring and systematization of the pedagogical experience of the largest modern clarinetists, as well as the development of didactic principles on this specific basis serves as the basis for constructing a model for organizing the educational process in the clarinet class.
Research objectives –
1. Address the problem of developing a school of clarinet playing
2. Reveal the place of clarinet music in the history of domestic and foreign culture
3.Identify the key issues in the methodology of learning to play the clarinet
4.Conduct experimental work on the development of performing skills in playing the clarinet among students of the Ust-Kamenogorsk Children's Music School
Theoretical and methodological The basis of the study were:
Works on philosophy of education, aesthetics and cultural studies
V.S. Bibler, Yu.B. Boreev, M.S. Kagan, N.I. Kiyashchenko, O.P. Kozmenko,
D.S. Likhachev, G.S. Pomerants, V.A. Razumny, L.A. Rapatskaya and others);
Psychological and pedagogical research on the problems of developing abilities, optimizing the learning process (Yu.K. Babansky,
A.N.Leontyev, I.Ya.Lerner, A.A.Melik-Pashaeva, Ya.A.Ponomarev, S.L.Rubinshtein, B.M.Teplova, etc.);
Works on musicology (B.V. Asafiev, E.V. Nazaykinsky, A.N. Sokhor, B.L. Yavorsky, etc.);
Works on methodology, theory and methods of music education (E.B.Abdulin, Yu.B.Aliev, O.A.Apraksina, L.G.Archazhnikova; L.A.Rapatskaya, G.M.Tsypin, V.N. Shatskaya and others);
Theory and practice of musical performance: (A.D. Alekseev, L.A. Barenboim, M.M. Berlyanchik, G.M. Kogan, G.G. Neugauz, A.I. Nikolaeva, etc.);
Experience of concert and pedagogical activities of famous Russian scientists, performers and teachers in the field of wind instruments (V.N. Apatsky, S.V. Bolotin, N.V. Volkov, B.A. Dikov, T.A. Dokshitser, Yu.N. .Dolzhikov, V.B.Krichevsky, R.A.Maslov, I.P.Mozgovenko, K.E.Mulberg, V.V.Petrov, N.I.Platonov, I.F.Pushechnikov, S.V.Rozanov , V.A. Sokolov, Yu.A. Usov, E.E. Fedorov, A.A. Fedotov, etc.);
To solve the problems and test the hypothesis, a set of methods was used scientific research, among which are theoretical methods (analysis of philosophical, art history, psychological-pedagogical, music-pedagogical and methodological literature on the topic of research, current curricula and programs in music-performing disciplines), empirical methods (generalization of teaching experience, observation of educational activities students). Main stages of the study:
At the first stage of the study(2012-2013) accumulation and comprehension took place theoretical material on the research problem, determining the degree of its development; the analysis of curricula, programs and educational literature on musical and performing disciplines was carried out, the educational activities of pupils and students were monitored, the goals and objectives of the study were determined.
Second phase(2013-February 2014) included: classes in teaching practice, own teaching activities with students of music schools, studying the experience of music teachers in the field of teaching playing the clarinet (I.E. Butyrsky, V.N. Voronina, I. P. Mozgovenko, V. V. Petrova, E. A. Petrova, A. A. Fedotova, etc.), visiting classes of clarinet teachers in republican and city children's music schools.
The educational experiment was carried out in the conditions of the educational process in Children's Music School No. 1 of the Akimat of Ust-Kamenogorsk, where the author works as a clarinet teacher.
At the third stage(March – April 2014) the research results were summarized, conclusions were drawn, and the dissertation was completed.
The base of the study was Children's Music School No. 1 of the Akimat of Ust-Kamenogorsk
Scientific novelty of the research:
The systematization of performing skills and abilities into the structural components of the performing complex was carried out.
A methodology for developing the performing skills of clarinetists has been developed, scientifically substantiated and experimentally tested, the effectiveness of which is ensured by the use of active creative teaching methods, a combination of individual (solo performance) and group (playing in an ensemble) forms of work.
Theoretical significance of the study.
The dissertation research identifies the main directions for optimizing the learning process of clarinetists in primary music education. A generalization of the performing skills of student guitarists into a performing complex has been undertaken. Not only the legality, but also the effectiveness of the proposed methodological recommendations has been theoretically proven and practically verified.
Practical significance of the study.
The study contains methodological recommendations aimed at optimizing the learning process for clarinetists in a music school. The developed methodology, the basis of which was the formation of performing skills, was introduced into the educational process of Children's Music School No. 1 of the Akimat of Ust-Kamenogorsk. The dissertation research materials can be used in the development of lecture courses on instrumental studies, history, theory and methods of wind performance in music schools and universities.
The reliability and objectivity of the research results are ensured by reliance on scientific and methodological provisions, the use of various research methods adequate to the tasks set, as well as the positive results of the experiment.
The following provisions are submitted for defense:
1. The study of the theory and practice of wind performance leads to the conclusion about the need to improve the methods of training wind clarinetists in primary music education in the Republic of Kazakhstan.
2. Systematization of performing skills and abilities and combining them into components of the performing complex will allow us to successfully solve the problems of training clarinetists. The performing complex represents the unity and interdependence of its components:
Sound motor;
Note-oriented;
Instrument-oriented;
Tempo-metro-rhythmic;
Artistically expressive;
Emotionally-volitional.
3. The effectiveness of the training process for clarinetists in primary music education is ensured if:
The task of developing performing skills will be considered by teachers of children's music schools as an important element of student training;
The formation of performing skills will be carried out taking into account the individual characteristics of students (age, temperament, motor profile, etc.), using active teaching methods using an appropriately and methodologically correctly selected repertoire in a combination of individual (solo performance) and group (playing in an ensemble) forms of work .
4. The main criteria that allow us to determine the levels of formed performing skills are: conceptual (awareness and awareness regarding the use of skills); operational (possession of performing skills); creative (manifestation of creativity in demonstrating knowledge, skills and abilities in performing practice).
Testing of the research results was carried out:
During a pedagogical experiment at Children's Music School No. 1 of the Akimat of Ust-Kamenogorsk
The reliability of the research results is ensured:
Organic connection of theoretical principles with practice;
Compliance of methodological approaches with the specifics of the phenomena being studied;
Studying the practical teaching experience of outstanding representatives of clarinet art XX - beginning XXI century.
Clarinet in Kazakhstan
In the Republic of Kazakhstan, the school of playing wind instruments has developed since the mid-20th century. The training of professional musicians began with the opening of the Kurmangazy Conservatory in the city of Almaty. The conservatory was opened on April 30, 1944. In 1945, the conservatory was named after the outstanding Kazakh folk composer of the 19th century Kurmangazy Sagyrbayev. The following teachers work at the Department of Wind and Percussion Instruments these days: Ermanov Zh.R. - head of the department, Aigalkaev N., Abdrashev B.T., Bisengaliev M.K., Glebov V.A., Karibaev B., Klushkin Yu.S., Mukhambetzhanov Zh.S., Nesterova O.V., Nuraly T.K., Fedyanin A.A. Shubin I.Yu, Uteuov M.Zh. Many famous clarinetists have graduated from the walls of the Kurmangazy Conservatory.
One of the no less significant higher musical educational institutions of the Republic of Kazakhstan, which has trained a galaxy of high-level performers, is the Kazakh National University of Arts.
The department of wind and percussion instruments is actively working at the university. Currently, the head of the department is a diploma winner of the All-Union competition, winner of the “Eren enbegi ushin” medal, associate professor Saparova Nurgul Mukhametzhanovna.
The teachers of the department are graduates of the Almaty State Conservatory named after. Kurmangazy, Kazakh National Academy of Music, St. Petersburg State Conservatory named after. N.A. Rimsky-Korsakov, Higher Schools of Music in Zurich (Switzerland), Detmold (Germany), which speaks of their high professionalism. Each member of the department is noted as a diploma winner or laureate of republican and international competitions, many teachers were awarded medals “Eren Enbegi Ushin”, badge“Madeniet kairatkeri”, anniversary medals.
Over 15 years, the department has trained more than 150 graduates who successfully work in music schools and orchestral groups in all regions of the republic.
Mastery performing arts based on the works of classics, contemporaries, composers of Kazakhstan, study of works highest difficulty, diverse in style and genre characteristics, mastering the art of performing interpretation, revealing artistic talent in an organic connection with the general process of educating a professional musician - this is the primary task of the department.
The level of professionalism of teachers is clearly visible in the number of laureates of republican and international competitions, and there are hundreds of them! About 400 laureates and diploma holders in different years conquered the jury and audience of competition sites in the cities of Kazakhstan, Russia, Moldova, Italy, Poland, India, Serbia, Israel, and the United Arab Emirates.
The teachers of the department, diversifying the creative potential of their students, achieve great success not only in solo, but also in ensemble performance. Recorder ensemble "Magic Flute", flute quartet "Flutesleggieres" (class of associate professor N.M. Grigorieva), woodwind quintet (class of associate professor D.A. Makhpirova), clarinet ensemble (class of senior teacher G.I. Ismailov) , a tuba quartet (class of senior lecturer A.V. Malinovsky), a percussion ensemble (class of associate professor R.G. Baizhigitov) are regular participants in the university’s concert events.
In scientific and educational work, great attention is paid to the development national music, promotion of creativity modern composers Kazakhstan. The teachers have made a large number of arrangements for wind instruments, published collections including works by composers of Kazakhstan, and written a number of scientific articles on the problems modern education taking into account national specifics. For example: G.I. Ismailov “Orchestral difficulties for clarinet from the works of Kazakh composers”; S.T. Urazaliev “Anthology of the pedagogical repertoire for the bassoon. Works of composers of Kazakhstan” issue 1; N.M. Grigorieva “Pedagogical repertoire of a recorder. 1-3 children's school classes"," Pedagogical repertoire of a flutist. Plays. Senior classes of children's music school", "Ashekey". Collection of works by contemporary composers of Kazakhstan for flute and piano”, “Transcriptions of works by composers of Kazakhstan as component pedagogical repertoire of a flutist"; D.M. Makhpirova “Concerto for oboe and orchestra by Mansur Sagatov: features of the content. Methodological recommendations for implementation"; A.V. Malinovsky “A set of daily exercises for tuba”; S.V. Zhorov “Ensembles for brass instruments: trios, quartets, quintets”, “Extracts from orchestral parts”; R.S. Orazaly “Anthology of the pedagogical repertoire. Pieces by Kazakh composers for clarinet. Issue 1".
Great importance is given to lectures in the state language. At the present stage of development of professional mobility in the field of performing arts, the staff of the department is actively involved in the process aimed at establishing bilateral mutually beneficial cooperation with colleagues and artists of Kazakhstan and foreign countries. In recent years alone, meetings, lectures and master classes have been held with outstanding performing musicians: flute - Trigvi Peterson (USA), Yasuo Yamamoto (Japan), Helga Custer (USA), Lewis Meirelles (Portugal), Massimo Mercelli (Italy) , Alexander Korneev (Russia), Giuseppe Nova (Italy); oboe – Nikolay Neretin (Russia), Tanatar Nuraly (Kazakhstan), Timur Tkishev (Kazakhstan); clarinet – Michel Letiek (France), Suzanne Thirk (USA), Evgeny Varavko (Russia), Oleg Lapidus (England); bassoon – Nicholas Custer (USA), Valery Popov (Russia); saxophone – Margarita Shaposhnikova (Russia); horn – Dariusz Mikulski (Poland); trumpet – Rem Gekht (Russia), Yuri Klushkin (Kazakhstan), trombone – Anatoly Skobelev (Russia), Anatoly Fedyanin (Kazakhstan), percussion instruments – Stanislav Skachinsky (Poland); conductor Robert Gutter (USA).
Teachers of the department conduct concerts and open lessons in music schools in Astana, Almaty, Karaganda, Pavlodar, Ust-Kamenogorsk, Novosibirsk. This is how career guidance work is carried out.
Currently, the department includes associate professors B. D. Dalisheva, R. G. Baizhigitov, E. K. Nurgaliev, N. M. Saparova, D. A. Makhpirova, N. M. Grigorieva, senior teachers G. I. Ismailov, S. V. Zhorov, A. V. Malinovsky, E. A. Zhakenov, teachers E. N. Mamyrbaev, I. A. Grigoriev, A. V. Taraskin, A. S. Tokpanov, P. A. Serebryanikov , M. M. Suleimenov, A. T. Neldybaev, A. B. Shakenova, M. L. Tsvetsikh, D. Oryngaliuly, E. I. Verbich, S. K. Umarov, S. A. Dalishev, N. V Beisenova, M.B.Konusbaev, V.S.Bondarchuk, T.V.Rolzing, Yu.Yu.Shevchenko, Zh.E.Zhakenova, Zh.A.Zheltyrguzova.
Also in every region of the Republic of Kazakhstan
Kanshin Anatoly Stepanovich(1940-) In 1961 he graduated from Dushanbe School of Music(class of A. Khasanov), in 1969 - Alma-Ata Conservatory (class of A. Movshi, B. Aspandiarov), in 1961-1969 artist of the orchestra of the Kazakh Opera and Ballet Theater, in 1969-1972 artist, from 1972-1995 soloist of the ZKR Symphony Theater orchestra of the Kazakh SSR.
Kvarditsky Vladimir Vasilievich(1923-) Honored Artist of the Kazakh SSR (1984), graduated from the Alma-Ata Music School (class of A. Vasilyev), in 1955 - Alma-Ata Conservatory (class of P. Filatov), in 1952-1987 soloist of the orchestra of the Kazakh Opera and Ballet Theater , in 1953-1963 also soloist of the symphony orchestra of the Kazakh SSR.
Oleynikov Yuri Vladimirovich(1935-) Honored Artist of the RSFSR (1986), Laureate of the Inter-Republican Competition Central Asia and Kazakhstan (Alma-Ata, 1969, 1st prize). In 1955 he graduated from the Ashgabat Music School (class of F. Carvigo), in 1971 - the Alma-Ata Conservatory (class of R. Sabirov), in 1957-1978 soloist of the orchestra of the Turkmen Opera and Ballet Theater, from 1978 - of the State Brass Band of the RSFSR, teacher of the Moscow Musical cadet corps.
Onoprienko Anatoly Alekseevich(1947-) In 1969 he graduated from the Frunze Music School (class of V. Rakhimov), in 1975 - the Alma-Ata Conservatory (class of R. Sabirov), in 1969-1977 artist, since 1977 soloist of the orchestra of the Kyrgyz Opera and Ballet Theater.
Roor Konstantin Vladimirovich(1958-) Honored Artist of the Republic of Kyrgyzstan (1995), Laureate of the Republican Competition (Frunze, 1980, 2nd prize), in 1979 he graduated from the Kyrgyz Music College (class of V. Rakhimov), in 1984 – Alma-Ata Conservatory (class of Y. Tkachenko) , in 1980-2000 soloist of the Kigyz Radio and Television Symphony Orchestra, since 2000 in the Netherlands.
Sabirov Rustam Nasyrovich(1932-) In 1951 he graduated from the Alma-Ata Music College (class of S. Lebedev), in 1958 - the Alma-Ata Conservatory (class of P. Filatov), in 1958-1975 soloist of the symphony orchestra of the Kazakh SSR, since 1976 teacher at the Alma-Ata Conservatory and a music school.
Svetlov Evgeniy Mikhailovich(1936-) In 1964 he graduated from the Frunze Music School (class of P. Bondarenko), in 1969 – from the Alma-Ata Conservatory (class of A. Movsh), in 1961-1970 artist of the orchestra of the Kyrgyz Opera and Ballet Theater, since 1970 soloist of the symphony orchestra of radio and television of the Kirghiz SSR, since 1981 teacher at the Kirghiz Institute of Arts.
Tkachenko Yakov Mikhailovich(1927-) In 1951 he graduated from the Lvov Music College (class of A. Vasilyev), in 1955 - the Alma-Ata Conservatory (class of A. Movsh), in 1955-1958 artist of the song and dance ensemble of the Kazakh SSR, in 1958-1959 - the Chelyabinsk orchestra Opera and Ballet Theater, since 1959 soloist of the pop-symphony orchestra of the Kazakh Radio and Television, since 1979 teacher of the Alma-Ata Conservatory.
Chernov Vyacheslav Petrovich(1957-) Graduated from the music school of Temirtau, Karaganda region, then from the Alma-Ata Conservatory, then from graduate school at the Moscow Conservatory (director V. Petrov), soloist of the orchestra of the Kazakh Opera and Ballet Theater, then from the Kemerovo Symphony Orchestra, in 1987 -2003 soloist of the Volgograd Symphony Orchestra, since 2003 - orchestra of the Yakut Opera and Ballet Theater.
Geller Grigory Mikhailovich(1945-) In 1970 he graduated from the Alma-Ata Conservatory (class of A. Movsh), since 1970 he has been a teacher at the Alma-Ata Music School, since 1985 at the Alma-Ata Conservatory, and now lives in Australia.
Georgiev Alexander Egorovich(1941-) Laureate of the Inter-Republican Competition of Central Asia and Kazakhstan (Alma-Ata, 1969). In 1964 he graduated from the Leninabad Music College (class of V. Semenov), in 1969 - from the Alma-Ata Conservatory (class of A. Movsh), in 1975 - postgraduate study at the Moscow Conservatory (director V. Petrov), since 1969 soloist of the symphony orchestra of the Kyrgyz Radio and Television .
Glukhov Alexander Ivanovich(1947-) Honored Worker of Culture of the Russian Federation (2004), Honored Worker of Culture of the Republic of Khakassia (1997), in 1959-1965 a student of the regimental military orchestra (Samarkand), in 1967 he graduated from the Semipalatinsk Music School, in 1972 - from the Alma-Ata Conservatory ( class of R. Sabirov), in 1969-1972 artist of the orchestra of the Kazakh Opera and Ballet Theater, since 1972 teacher of the Abakan Music School, since 1990 soloist of the Abakan Brass Band, since 2000 soloist of the Khakass Philharmonic Orchestra (Abakan), in 1999 artist Kobyltsov wrote “Portrait of clarinetist A.I. Glukhov.”
Zhaksybergenov Arman(1972-) In 1991 he graduated from the Alma-Ata Music College (class of G. Geller, G. Yusupov), in 1996 – from the Alma-Ata Conservatory (class of R. Sabirov), since 1991 artist of the Kazakh brass band, since 1996 soloist of the Kazakh Symphony Orchestra (Alma-Ata).
Isenov Tasmukhan Zhaksygalievich(1954-) In 1972 he graduated from the music school at the Alma-Ata Conservatory (class of B. Aspandiarov), in 1977 - the Alma-Ata Conservatory (class of B. Aspandiarov), since 1976 soloist of the ZKR symphony orchestra of the Kazakh SSR, since 1981 teacher of the Alma-Ata conservatory.
Tokpanov Almas Serikovich. In 1995 entered the Republican Music School named after. A. Zhubanov to the class of teacher Isenov T.Zh. 1999-2003 studied at the Kazakh National Academy of Music in the class of Associate Professor Ismailov G.I.
Graduated from the St. Petersburg State Conservatory named after N.A. Rimsky-Korsakov (2003-2006), class of Honored Artist of Russia, Honored Artist of Russia, Professor V.P. Bezruchenko.
2006-2008 studied for a master's degree High school music Detmold (Germany), class of professors H.-D. Klaus and Thomas Lindhorst. He is a laureate of Republican and International competitions
Ismailov Gani Iskakovich. Graduated from the Almaty State Conservatory named after Kurmangazy (1977-1982), class of Professor R.N. Sabirov. Winner of the 1st prize at the competition of performers on wind and percussion instruments of the Republics of Central Asia and Kazakhstan (1990). Concerts as a soloist and as part of a woodwind quintet. He was a member of the jury of International and Republican competitions for performers on wind and percussion instruments. He is constantly working to expand the educational and concert repertoire for the clarinet. Published 6 teaching aids For fruitful teaching and performing activities, he has received a number of incentive awards from the Ministry of Education and Science of the Republic of Kazakhstan, the Ministry of Culture of the Republic of Kazakhstan, the Governor of the Kemerovo Region A. Tuleev and others.
Ermanov Zhanat Rakhmetullinovich. Graduated from the Kazakh National Conservatory named after. Kurmangazy and graduate school at KNK named after. Kurmangazy, from Honored Worker of the Republic of Kazakhstan Sabirov R.N.
In 1997 he graduated from the European Academy of Music. Mozart (Poland). At the academy he studied solo and chamber performance with professors; Michel Letiegue, Matt Silivan, Aruel Nicolet, Pnina Salzman, Eva Blakhova, Alexander Satz, Laura Kaminsky.
In 2000, he graduated from the International Summer Academy of Music in Nice (France) with professors: Paul Meyer, Richard Villay, Guy Defluse, Michel Letiec.
In 2001 he graduated from the International Summer Academy of Music in Prado (France) with professors: François Leleux, Yana Thomson, Andre Cazalet, Yves Didier, Armand Angster, Michel Letiegues.
In 2002 he graduated from KNK them. Kurmangazy majored in opera and symphony conducting. At the professor's; Abdrasheva T.A.
Has a number of scientific and methodological works.
Many of its graduates are laureates of international competitions and work in various musical groups in the Republic of Kazakhstan and beyond.
Works closely with the French Embassy in Kazakhstan. Periodically performs together with musicians invited by the French Embassy in Kazakhstan.
In connection with the 60th anniversary of the KNK named after Kurmangazy, for outstanding achievements in educating creative youth and concert activities, Ermanov Zh.R. was awarded the honorary title “Madeniet kairatkeri”.
At this time it is artistic director State Woodwind Quintet. Associate Professor of KNK named after Kurmangazy.
Conclusion.
Modern clarinet performance places broad and varied demands on the player: confident mastery of all types of musical technique, the ability to aesthetically comprehend the game, active thinking, and a rich and varied emotional sphere. All this is intended to serve a single goal - to achieve maximum expressiveness and persuasiveness of musical performance, carried out using a complex of various expressive performing means.
In Russian clarinet performance, along with undoubted successes and achievements, there are also unsolved problems:
1. Poor quality of domestic instruments.
2. Low level organization of primary education (teaching by non-specialists, meager library collection, lack of tools).
Each of these problems has its own characteristics associated either with logistics base, or with teaching methods. Particularly pressing is the issue of our industry mastering the production of high-quality clarinets of the French system from valuable wood species.
It is worth noting the paucity of tools. After all, it is known that it is easier for a child of eight to ten years old to master the clarinet on a small clarinet in Es or in C, since they are more responsive to the tasks and characteristics of this period of learning.
Lessons on wind and percussion instruments in children's music schools and music departments of art schools are conducted in accordance with the current curricula approved by order of the USSR Ministry of Culture dated May 28, 1987.
The specificity of wind instruments determines the different periods of learning to play these instruments. The age, general preparation of students, and their physical and musical abilities also play a big role in setting the terms of training.
The following optimal periods for learning to play these instruments are recommended: bassoon, saxophone - 5 (6) years; flute, oboe, clarinet - 7 (8) years. The different progression of students studying for 7(8) or 5(6) years is reflected in the sample examination programs of the corresponding classes.
Students of preschool and primary school age can receive initial training by learning to play the recorder or special children's musical instruments; It is recommended to create preparatory groups for preschoolers.
During the training, the teacher must teach the student to independently learn and competently and expressively perform on the instrument works from the repertoire of the children's music school. During musical instrument classes, the student also masters the skills of sight-reading simple works, ensemble and orchestral parts, and playing in various ensembles.
The main form of educational work in the instrumental class is a lesson conducted as an individual lesson between a teacher and a student.
In the first years of education (in the preparatory group, grades 1 and 2), along with the traditional form of conducting a lesson, small-group lessons are also possible, in which the entire lesson time (or any part of it) is used to work with two or three students at the same time. This gives the teacher the opportunity to work more efficiently and pay more attention to the development of skills in sight reading, transposition, selection by ear, ensemble playing, as well as expanding the musical horizons of students.
Learning to play woodwind instruments requires students, in addition to musical abilities, to also have good health and physical training. When playing wind instruments, the lungs and labial apparatus actively work, and certain muscles of the body tense. It is important that fingers, lips, and teeth meet the established requirements for students of wind instruments. Correct placement of the labial apparatus and performing breathing are one of the necessary conditions successful learning.
Constant attention should also be paid to accurate intonation - the most important means of musical expressiveness.
To develop accurate intonation, it is necessary to constantly develop the student’s ear for music, as well as a sense of self-control.
The student should also be introduced to the history of the instrument, its structure, and the rules for caring for it.
Working with an accompanist is of great importance for the musical development of students. Performing works accompanied by accompaniment enriches students' musical understanding and helps them better understand and assimilate the content of the work. Performing with accompaniment strengthens and improves intonation and rhythmic organization, forcing one to achieve a consistent ensemble sound.
The program for the class of wind and percussion instruments also provides requirements for the performance of ensembles for wind instruments. Ensemble performance skills must be instilled in the student from the first years of education, thereby preparing him for challenges in the orchestra class.
The total number of pieces of music recommended for study in each grade is given in the annual requirements. When working on the repertoire, the teacher must achieve varying degrees of completeness of performance: some works are prepared for public performance, others for display in a classroom setting, and others for the purpose of familiarization. All this is necessarily recorded in the student’s individual plan.
The program offers approximate lists of musical works of various levels of difficulty for performance at academic concerts during the academic year, as well as in exams. This will help the teacher implement a differentiated approach to teaching students who differ in level, general training, musical abilities and other individual characteristics.
The proposed repertoire lists for classes are exemplary; they contain works of varying degrees of difficulty and provide great scope for the teacher to show initiative.1
1 Approximate
Classes in classes of wind and percussion instruments are conducted in accordance with the “Methodological guidelines for the organization of educational work in instrumental classes of children's music schools (music departments of art schools)”, published by the All-Union Methodological Cabinet for Educational Institutions of Arts and Culture (Moscow, 1988. ).
Teachers can obtain additional information about the forms and methods of working with students in wind and percussion instrument classes in special methodological literature.
Block 1
The ability of students to correctly and rationally use breathing and the diaphragm is tested both when performing pieces and without an instrument. An indicator of training is mastery of performing breathing and correct execution of exercises for the development of the respiratory apparatus, correct setting support, quick and deep inhalation, smooth and long exhalation. Performing an excerpt of a musical piece using rational performing breathing.
The work is considered completed if the student completes the assigned tasks correctly.
Block 2
Identification of main errors, their classification.
The ascertaining stage showed that students make the greatest number of mistakes when performing long musical phrases(i.e., when performing long passages, the student forgets about correctly placed performing breathing and is distracted by musical text, due to the irregular performance of breathing exercises and the small number of them, performance breathing has not been brought to mechanical use)
Table 1
Analysis of the results of the ascertaining stage of the experiment
Skills and abilities
Experimental group
Control group
An analysis of the students’ work showed that when performing pieces and performing breathing exercises, they made the following mistakes: when performing pieces, drawn-out notes and scales, students forgot about playing on the “support”, did not rationally use the exhaled stream of air, the stream of exhaled air should come out smoothly, evenly, in a single line, without hesitation, the students’ air stream was not stable and not long, which indicates little time was spent on breathing exercises given by the teacher.
This and much more was taken into account when compiling exercises for the formative part of the experiment.
The formative stage of the experiment was carried out in a children's music school for students in the clarinet class and took about 5 minutes in the specialty lessons. The goal of this stage was to introduce a system of exercises aimed at correcting the performing breathing technique, i.e. check its effectiveness. The yogi breathing system described in the article by V. Ivanov, Doctor of Art History, Professor of the Moscow State University of Culture and Arts “Secrets of inhalation and exhalation” was taken as a basis.
The material was distributed as follows.
The purpose of this block was to develop muscle memory in first grade students. Here we used exercises that develop breathing according to the yoga system. The work consisted of several stages.
Stage 1: The student must take the starting position while standing. The body is straight, the shoulders are turned, the arms are not tense. First, you should place the palm of one hand on your chest and the palm of the other on your stomach. Then take a deep, slow breath through your mouth so that the front and side walls of your abdomen protrude forward and to the sides, simultaneously raising your palm. After this, it begins to fill the middle and top part lungs, expanding the upper chest, raising the palm placed on it accordingly. Next, holding the abdominal press and chest in a deep inhalation position, holds the breath for a while (for example, mentally and not quickly counting to three), then begins to exhale slowly, preferably as long as possible, through the narrow slit of the lips. You can imagine that you are blowing on a burning candle, trying to put out the fire. When exhaling, you should try not to lower your chest for as long as possible, that is, keep it in the inhalation position. Repeat the exercise without interruption 5-8 times.
Stage 2: For the next lesson, it was checked whether the exercise was mastered and whether it was performed correctly.
Ivanov V.A.
“Specifics of working with an ensemble of wind instruments”
2015
Collective music-making involves very complex performing technology. In an effort to achieve ensemble unity in all respects, performers encounter difficulties that are unfamiliar (or little familiar) to them from solo music playing.
In the ensemble, everything is decided together and in the interconnection of all sections. From this, coherence and joint performance are born.
It should be taken into account that group musicians play different parts. These parties are mostly monophonic. They are very different in the functions they perform. Each part may contain a melodic (including solo) passage, a polyphonic echo, some kind of harmonic, accompanying voice, melodic or harmonic figuration, etc. Parties also differ in degree of difficulty. Unlike concert solo pieces and etudes, they can always contain incomplete phrases (either there is no beginning or no end), individual dependent harmonic voices, and a large number of pauses.
Orchestral (also ensemble) parts are not too virtuosic. Playing them separately, the musician, as a rule, does not experience any particular difficulties. But in general music-making, when the laws of the ensemble come into force, everything changes: the easy becomes difficult. The musician has become part of the whole. This large whole is created on the basis of the impeccable subordination of everything private, belonging to different performers, to a single principle with the obligatory fulfillment of all ensemble requirements.
Here are the most important of these requirements:
Clean intonation and correct execution of dynamic shades, based on the needs of the overall sound at the moment.
Accurate execution of tempo-rhythms, maintaining the synchronization of identical voices, ensuring coordination of voices with different rhythms, hearing what needs to be played.
Maintaining uniformity in shading (where necessary), in the nature of the sound and manner of playing.
Strictly following the hand of the conductor (if there is one).
Manifestation of emotional and artistic aspiration in accordance with the requirements of the entire team (conductor).
Intelligence must come before technical skills.
To successfully fulfill all these requirements, a musician must possess a whole range of ensemble skills. He must have a well-developed ear and sense of intonation, tempo-rhythm, dynamic nuances and shading, and, of course, the work itself and phrasing. A musician working in an ensemble (orchestra) must have a good reaction and keen attention and some other special musical resourcefulness and, even, dexterity. All this suggests that the profession of an orchestral ensemble player (pianist or accordion player-ensemble) is very complex and multifaceted.
The versatility of the assembler is due to the fact that he has to play all kinds of music, and not just the one that suits his taste, like that of concentrated soloists. In addition, the assembler often acts as if in the role of an accompanist, playing various accompanying voices, and for some time he may also turn out to be a soloist.
It is usually believed that many years of work in an ensemble orchestra are necessary to master all ensemble skills. This view is quite natural. Experience convinces us that practice collective music playing within the educational institution (orchestral and ensemble classes) cannot yet give students the full range of ensemble skills (there are reasons for this, which will be discussed below). With special training things are much better. Specifics individual training, suggesting a large homework, allows the student to more thoroughly practice his performing skills, bringing him to artistry even during his years of study. In special training classes, work not only on works of art, but also on training material (studies, scales, etc.) brings great benefit. Of course, in assembly (chamber ensemble) and especially orchestral music-making, all this is absent. Due to the collective form of classes, there are no necessary conditions for carefully practicing many ensemble “little details”; there is no daily training for many hours and training material.
It seems that in teaching collective performing skills, along with works of art, unique exercises - etudes - can be successfully used. To do this, there is no need for polyphonic presentations of them. In many ways, two-voice ones are enough. These two voices, in various combinations, can present the practice of two performers on almost all aspects of collective performance. The main advantage of duet music playing is that two performers can always easily detect and overcome the shortcomings that emerge during the playing process. If this duet is also conducted, for example by a teacher, then the conditions are in many ways closer to the orchestral form of classes.
For purely organizational reasons, it is advisable to use training studies for homogeneous instruments. This makes it possible to perform them in special training classes. Thus, teachers will provide great assistance in instilling ensemble skills in future musicians.
Let us now proceed to a more detailed consideration of the above ensemble requirements.
1.Nothing reduces the quality of performance more than false playing (this applies to orchestra members). It cannot be justified by anything. However, pure intonation, determined by musical and aesthetic requirements, does not always coincide with the sound obtained acoustically and mathematically.
The height of individual notes, depending on modal-harmonic situations, can change, so pure intonation is achieved in a living relationship to the musical material. In view of the above, even a so-called “pure instrument” cannot always satisfy the requirement of pure playing. The pitch of individual notes often has to be changed somewhat in one direction or the other.
An extremely important circumstance is constant self-control during ensemble or orchestral performance. Constant self-control will allow each performer to monitor their intonation based on the overall sound. In addition, such attentive listening will help you measure the strength of the sound of your instrument in relation to the entire ensemble.
2. Another requirement of ensemble playing is inhalation technique. The problem of inhalation causes a lot of trouble for wind musicians. This mainly applies to continuous (pauseless) and long sequences, especially with strong sound. The whole difficulty here lies in the fact that the performer has to inhale air very quickly (sometimes at lightning speed). Only with such an inhalation can a break in a phrase go unnoticed. And one more difficulty! At single player“wind players” usually have the habit of expanding pauses for inspiration by “hurrying up” pre-pause music or by delaying post-pause music, and such a violation goes almost unnoticed. But in an ensemble, if one performer plays smoothly, and the other rushes his part to make it possible to take his breath more calmly, a very noticeable rhythmic conflict arises. In this case, you must always listen carefully to your partner and, as it were, duplicate his rhythm. You must learn to take as much breath as is necessary for a particular segment of sound, so as not to cause shortness of breath or forced inhalation of excess air. If there are no pauses for air in the sound, then in certain places it is necessary to slightly shorten the duration of the notes preceding the inhalation, but this must be done in such a way that the impression of a continuous and even sound remains.
3.Very often ensemble unity is not achieved due to disagreement or inconsistency in shading, or both. This refers to combinations of harmonic structure (note against note). What you need to know here.
Any musical sound is assessed (within the limits of a given timbre and a given density, this in most cases depends on the natural data of the performer) by the nature of the initial moment (attack), the nature of its conduct and the nature of the ending. All this is almost entirely determined by the musician’s performing skills. The more developed his breathing is in all its manifestations, as well as his lips and tongue, the easier it will be for him to fulfill all the requirements of nuance and shading.
Since nuance comes down to playing louder or quieter, its implementation is not associated with any particular difficulties. Here, if there are mistakes, it is not so difficult to correct them. In an orchestra (in an ensemble), for example, it doesn’t take much time to achieve the desired dynamics. It is enough for the conductor to urgently demand the necessary nuances and the issue will be resolved.
But it will be solved successfully only when ensemble discipline is observed. The ability to measure the strength of the sound of instruments depends on the general musical development of the performers, their understanding of the style and nature of the work.
Generally speaking about dynamics, we must keep in mind that the concepts of their absolute strength are still conditional and they depend on the nature of the work and the instrumentation.
Another thing is the strokes. After all, performers on wind (especially brass) instruments have many ambiguities and disputes when materializing a stroke. And all this because the technology of making the stroke itself is associated with such components as the tongue, lips, diaphragm and larynx, the work of which is largely hidden from the eyes of the players. In addition, the technique of these components does not always meet the performance requirements (the tongue “went in the wrong direction,” the lips were in the wrong position, the diaphragm or larynx did not have time to react, etc.). To make the work of the tongue (and lips) clearer when playing, it is sometimes useful to compare it with the work of the tongue (lips) when pronouncing various letters and syllables.
To achieve a good ENSEMBLE great importance has unity of understanding and execution of strokes. Therefore, an important place in working with an ensemble is constant attention to the mastery of various strokes by each performer individually and their collective performance.
Ubushaeva Olga Valerievna
accompanist of the highest category of Children's Art School No. 14, Moscow Region, Krasnodar
Methodological development
SUBJECT: " Specifics of the work of an accompanist at the Children's Art School and some aspects of ensemble playing in the wind instrument class"
Methodological development plan
1. The role of the accompanist in the educational process
2. Playing in an ensemble and some features of the work of an accompanist in the wind instrument class
The purpose of methodological development
To analyze the specifics of the work of an accompanist at the Children's Art School in the wind instrument class.
Objectives of methodological development
1) Conduct an analysis and show the role of the accompanist in the process of preparing and teaching students at the Children's Art School.
2) Based on scientific and methodological literature and your own work experience, show the specifics of the work of an accompanist in the wind instrument class.
Chapter 1. The role of the accompanist in the educational process
The work of an accompanist in the process of teaching students at a children's art school should not be limited to simply accompanying the student. Working closely with the teacher, the accompanist can help the student master the skills of playing in an ensemble, the ability to listen to other performers and the overall sound of the entire piece. In addition, using his musical experience, the accompanist, when learning the repertoire, can suggest to the student some musical nuances and develop his imaginative thinking.
The main role of the accompanist in the educational process is, of course, playing in an ensemble with the student. The features of the accompaniment and the specifics of playing in an ensemble with wind instruments will be described in detail in the next chapter. However, the tasks of an accompanist cannot be viewed so narrowly. After all, the main goal of the entire educational and methodological process is to prepare not only a beginning musician, but also to contribute to the development of the child’s artistic personality. In this regard, the accompanist, who often himself has Teacher Education and being in direct contact with the student, becomes the main teaching assistant for a special instrument.
As an already established musician, and also a pianist (it is no secret that pianists have more developed harmonic thinking due to the specifics of their instrument, which allows them to perform musical works of any complexity and develops the ability to perceive music as a whole), the accompanist can give a lot to the student by communicating with him both directly and through music. This opportunity cannot be missed, given that students, in addition to studying at a music school, spend most of their time studying in general education institutions. A student who wants to achieve certain success must make the most of every minute of music lessons, absorbing like a sponge the knowledge and experience that both the teacher and the accompanist can give him.
Introducing a student to a new work, the accompanist, in addition to being able to play the entire musical text himself, including the solo part, also has the opportunity to analyze its individual details, make a theoretical analysis if necessary, and identify those hidden from the student’s superficial glance. interesting features works: harmonic discoveries of the author, unexpected modulation shifts; show the logic of development of the main and secondary topics, monitor all their changes (especially if we're talking about about musical works of large form); pay attention to hidden voices that enrich the musical fabric of the work, and so on.
Such an analysis will help the student to form the most complete picture of the work being studied and expand the performance tasks assigned to him. The brightness of a student's performance should not, of course, be based only on blind imitation. No matter how little experience students have, each of them is an individual. Children feel the same thing differently, and they should be able to express themselves without, of course, distorting the general meaning of what is being performed. piece of music. Therefore, one of the most important tasks of the teacher and accompanist is the development of musical intuition, performing flair and logical musical thinking skills in students. In practice, it can be very difficult to achieve from a student harmony between content and technicality in execution. Insufficient mastery of the instrument, even with considerable musical abilities, does not allow the student to achieve what he wants. Here, not only the will of the student is needed, but also the perseverance and tact of the teacher and accompanist to help the student, overcoming all difficulties, make a qualitative leap in performing skills.
With all this, the accompanist is often left alone with the student during rehearsals and concerts. And here knowledge of the psychology of children has significant role. You cannot “break” a student; you must, based on individual character traits, find ways to reach him. Sometimes it’s time to praise and encourage the child, and sometimes it’s useful to show some toughness. An experienced accompanist should feel this already subconsciously. Otherwise, you can discourage a student from studying music and give him an uncontrollable fear of public speaking.
Knowledge of the history of music and musical literature can also be used by the accompanist in the process of communicating with students. The appropriate figurative association in connection with the musical piece being studied helps to enrich the student’s ideas about the work he is performing, allows him to more fully understand, and most importantly, feel the music.
The general musical erudition of the accompanist is also of great importance. So, for example, knowledge biographical facts from the composer's life can also be used to better understand the student's intentions of the author of a musical work. An idea of what life and historical circumstances, in connection with what events this or that work was created, what the author experienced at that moment and what the author felt at the time of its creation will help the student in his work on a piece of music. All this additional knowledge, seemingly of a purely informative nature, nevertheless brings additional interest to musical studies and encourages even the least musically advanced students to study with greater diligence and activity, trying to embody in sounds images that are understandable to their imagination, trying to play without just “louder”, “quieter”, “faster” or “slower”, and put artistic meaning into these dry concepts.
I will touch upon the topic of teachers’ choice of educational repertoire. Without in any way detracting from the experience and qualifications of the teachers, I will nevertheless note that in this matter the accompanist can provide them with all possible assistance. Sometimes a teacher can get stuck for years on using some musical pieces he has already tested in the teaching process. Such “obsession” gradually leads to the fact that the requirements for oneself as a musician, both for the teacher himself and for the accompanist, are imperceptibly reduced, new trends in music “pass by”, and creativity disappears in the learning process. An accompanist who takes part in working with several teachers, and especially who has extensive concert practice, can give advice both when choosing the work to be studied and on options for interpreting the musical repertoire already in use. This can introduce the necessary novelty into the educational and creative process. Only a creative union between a teacher, accompanist and student can give the desired effect in educating a novice musician.
Considering the increasing role of the accompanist in the educational process, the requirements for his qualifications should constantly increase. To be at the proper level and maintain good musical shape, the accompanist must constantly work on himself. There is no limit to perfection, so you need to study our profession throughout your creative life, constantly enriching your experience by studying new works by composers of various styles, schools and movements, while simultaneously improving in the performance of the already accumulated repertoire.
Chapter 2. Playing in an ensemble and some features of the work of an accompanist in the wind instrument class.
The basis of the accompanist's work is accompaniment, that is, playing in an ensemble. Accompanist or accompanist is the most common profession among pianists. Playing in an ensemble is a specific type of music making that imposes a number of special requirements on the ensemble members. The soloist and the pianist, in an artistic sense, must be members of a single, integral musical organism. In addition, the art of accompanism requires high musical skill, artistic culture, and certain life qualities. It includes not only learning their parts with soloists, but also the ability to control the quality of their performance, knowledge of their performance specifics and the reasons for difficulties in performance, the ability to suggest how to correct certain shortcomings. The activities of an accompanist combine creative, pedagogical and psychological functions, which cannot be separated from each other in educational, concert and competitive situations.
Let's consider what qualities and skills a pianist must have to become a good accompanist. First of all, he must have good command of the piano, both technically and musically. It is well known that a bad pianist will never become a good accompanist, just as any good pianist will not achieve significant results in accompaniment until he masters the laws of ensemble relationships, develops sensitivity to his partner, and feels all the continuity and interaction between the soloist’s part and accompaniment part.
The art of an accompanist presupposes mastery of both the entire arsenal of pianistic skills and many additional skills, such as: the ability to co-organize a score, “build a vertical”, bring out the beauty of a solo part, provide a living pulsation of the musical fabric, etc. At the same time, in the art of the accompanist, selflessness and self-forgetfulness must be manifested with particular force in the name of the soloist, in the name of animating the score. A good accompanist must have general musical talent, sufficient ear for music, the ability to grasp the figurative essence and form of a work, and artistry. The accompanist must learn to quickly master a musical text and distinguish what is essential from what is less important.
The specificity of the accompanist’s playing also lies in the fact that he must find meaning and even pleasure in not being a soloist, but being in the background of the musical performance. An accompanist must also have a number of positive psychological qualities. Thus, the accompanist’s attention is a completely special kind of attention. It is multi-planar: it must be distributed not only between two with my own hands, but also attributed to the soloist - the main character. At every moment it is important what and how the fingers do, how the pedal is used, auditory attention is constantly occupied by the sound balance (which represents the basis of the fundamentals ensemble music playing), sound science for the soloist; ensemble attention monitors the embodiment of unity artistic design. Such tension requires enormous concentration, physical and mental strength, as well as a stable psyche.
Mobility, speed and excellent reaction are also very important for the professional activity of an accompanist. If a soloist suddenly mixes up the musical text at a concert or exam (which happens quite often with young students), without ceasing to play, he is obliged to “catch” the soloist in time and safely bring the performance of the work to the end. An experienced accompanist can always relieve the uncontrollable excitement and nervous tension of the soloist before a performance. The best means for this is the music itself: especially expressive playing of the accompaniment, increased tone of performance. Creative inspiration is transmitted to the partner and helps him gain confidence, psychological, and after it muscular freedom. Will and self-control are also qualities necessary for an accompanist. If any musical problems occur during the performance of a piece, he must always firmly remember that he has no right to stop or correct his mistakes, nor to express his annoyance at the mistakes with facial expressions or gestures. The functions of an accompanist working in an educational institution with soloists are largely pedagogical in nature, since they consist mainly in learning new educational repertoire with soloists. This pedagogical side of the accompanist’s work requires from him a number of specific skills and knowledge from the field of related performing arts, as well as pedagogical flair and tact.
Accompanying soloists and instrumentalists has its own specifics. The accompanist cannot do without the ability to hear the smallest nuances of the soloist’s part, balancing the sonority of the piano with the capabilities of the solo instrument, and the qualifications of the performer himself. When accompanying wind instruments, the pianist must take into account the capabilities of the soloist's respiratory apparatus and take into account the moments of taking the breath when phrasing. It is also necessary to control the cleanliness of the wind instrument, taking into account warming up. The strength and brightness of a piano sound in an ensemble with a trumpet or trombone can be greater than when accompanied by an oboe or flute. With instrumental accompaniment, the pianist’s fine auditory orientation is especially important, since the mobility of, for example, woodwind instruments significantly exceeds the mobility human voice. The accompanist should know the peculiarities of the notation of solo parts for various instruments– designations of harmonics, various strokes, etc., alto and tenor keys. For a preliminary acquaintance with the full texture of an instrumental piece with piano accompaniment, the most appropriate way is to initially play the part of the solo voice, accompanied by a simplified texture of the harmonic basis of the accompaniment part.
One of the specific aspects of playing in a piano ensemble with wind instruments, as well as with vocalists - that is, with those performers whose sound formation is associated with the vibration of an air stream - is that the accompanist must take into account the moments of breathing in his part. It is known that taking a breath is determined by the structure of the phrase and depends on the logic of its development. But often in practice there are particularly extended musical constructions that the student is not able to play in one breath. In such cases, it becomes necessary to interrupt breathing mid-phrase, to which the accompanist must react accordingly, as if “sighing” along with the soloist. Let us note that one of the aspects of accompanist skill is precisely determined by how freely and easily the partner can “breathe”, whether he or she is suffocating during the performance of the piece.
Let us dwell on the main features of the work of an accompanist in the classroom. The main task of the accompanist in the classroom is to, together with the teacher, help the student master the piece and prepare him for a concert performance. Typically, a student’s work on a piece consists of the following stages: analysis, fragmentary performance, consecutive performance from beginning to end (rehearsal), which precedes the concert performance. The accompanist can get involved in this work at the analysis stage. So, if a student at the stage of learning a piece loses control over intonation, the pianist can play along with the sounds of the melody, as is done in vocal classes. He helps the student cope with a rhythm that is incomprehensible to him, duplicating the solo part on the piano. Sometimes students miss or shorten long notes during pauses at the piano. In such cases, it can be useful to fill the pause with chords. In general, temporarily modifying the texture of the accompaniment often helps the student master his part faster. If the student is at an early stage of mastering the piece, then the accompanist does not necessarily have to play his part in full; he can limit himself to only its main elements: the most important basses and harmonies.
It is necessary to say a few words about the enormous expressive significance of the pause. Underestimating it is a very common flaw among beginning musicians. It often happens that a pause is perceived by students as an interruption of music, emptiness, and not an increased distance between the previous and subsequent sounds, filled with musical content. Fermata are also an annoying stop for some students, so they are often performed purely formally, without realizing their importance. Only through continuous listening and “getting used to” the music being performed can you feel all these moments of pauses in the sound and ensure that they are artistically justified.
It should be noted that the ability to count pauses is one of the important components of ensemble playing. As a rule, students, although they practice playing in a school orchestra, do not have enough skill in counting pauses - both long and short. It is necessary to draw the student’s attention to the fact that it is necessary to record each measure of the pause only when first familiarizing yourself with the musical text, and in the future this is not at all necessary. You can increase the “scale” of the countdown by marking four or eight measures, but it is even more advisable to use cues, clearly imagining the general course of musical development and the structure of the passage where these long pauses occurred in one part. The simplest and most effective way to overcome the unnecessary tension that arises during pauses and the fear of missing the moment of introduction is to play the music your partner is playing. The accompanist can always do this, but the student himself must also do it. This technique will allow him to pass the entire musical fabric “through himself”, and not be just a passive performer. Then the pause ceases to be a tedious wait and is filled with a living musical feeling.
In order for the student to most fully imagine the entire character of the work as a whole, the moment of presentation is very important. The student himself, as a rule, does not master the piano to such an extent as to be able to play both parts at the same time and clarify the entire artistry of the musical fabric. The accompanist must do this for him. Moreover, in the process of working on a work, this technique can be used more than once, showing the play both in finished performance and with the shortcomings of the student’s play, in order to clearly demonstrate to him the difference between what should be and what is at the moment . Such a display, as a rule, stimulates students, charging them with energy, awakening their imagination, liberates their inner constraint, frees them from the fear of revealing themselves - in other words, it forms their performing and creative will. The demonstration is especially important for students who are more lethargic and passive in terms of performance. While for active students sometimes only one is enough figurative comparison or an expressive conducting gesture on the part of the teacher to make the performance “come to life.”
As you know, the methods of producing sound on the piano and on wind instruments are different. There are also differences in strokes. But basically all the commonly used strokes - legato, staccato, marcato, etc. - are the same, and the task of the performers is to achieve maximum identity in their combined sound. The uniformity of strokes acquires particular importance in cases where a melody, passage, or accompaniment moves from one part to another, is transferred from the soloist to the accompanist and vice versa. And here, when performing the same melodic material, one should not allow line differences in readings, unless the text contains special instructions from the author in this regard. Such places in the work require from partners special auditory sensitivity, the same “feeling” of the character of this music, the need for maximum ensemble fusion.
As for the dynamic side of an ensemble with a soloist, one must certainly take into account such factors as the degree of general musical development of the student, his technical equipment, the capabilities and sound characteristics of the particular wind instrument he plays. We must not forget that in works in which the piano part is typically accompanying, the soloist always plays the leading role, despite the fact that in terms of his artistic level he is a weaker partner. Under these conditions, a good accompanist should not highlight the advantages of his playing, but should be able to remain “in the shadow of the soloist,” emphasizing and highlighting the best aspects of his playing. In this regard, the question of the nature of the playing of the piano introductions is very important. The pitiful sound of the soloist’s instrument or his indistinct playing after the accompanist’s “loud” introduction will be very comical. When playing in an ensemble with a “soft” soloist, the pianist should perform the introduction very expressively, but balancing the playing with the sound and emotional capabilities of the student.
The most common drawback of student performance is dynamic monotony: everything is played essentially mezzo-forte and forte, or mezzo-piano and mezzo-forte. It is rare to hear, especially at the initial stage of learning, a full-fledged piano. There is no need to talk about smaller gradations of the piano, for example, pianissimo. True, we must also take into account the fact that it is technically difficult to hit high notes on the piano on wind instruments, but such cases are rare in the pedagogical repertoire. As a rule, a high note is always associated with the moment of climax. Here we would like to draw your attention to the fact that when playing in an ensemble with brass instruments of such bright timbre as trumpet, tuba, trombone, at the climaxes there is a danger of the soloist “drowning out” the accompanist. Sometimes this deficiency can be difficult to eliminate due to the different timbre of the sound of instruments.
It is necessary to convey to the student that the dynamic range of the ensemble should not be narrower than when playing solo, but wider, because the capabilities of two performers on two instruments allow them to make fuller use of the capabilities available to each and achieve a more voluminous sound effect. To do this, it is very important to obtain from the student a clear understanding of the gradations of forte and fortissimo. Having talked about the general dynamic plan of the work, it is necessary to determine its climax and advise the soloist to always play fortissimo with a “reserve” and not at the “limit”. Only then will there be no imbalance in sound between members of the ensemble. The same applies to the accompanist, who should not “overwhelm” the soloist with a loud texture, no matter how rich in chords it may be.
Students should be encouraged to ensure that from the very first steps, when starting to analyze a piece, they learn to see not only “bare” notes, but also all the shades that accompany them: strokes, dynamic and tempo instructions - and strive to execute them accurately. The difference between forte and fortissimo should be as noticeable as the difference between forte and piano, between mezzo-forte and mezzo-piano, etc. After all, each of these shades carries a certain semantic load, expressing one or another mood and, ultimately, building the form of the work. In ensemble play, the partners’ exact adherence to the dynamic plan is doubly important, otherwise musical development will lose its logic.
Speaking about dynamics, it should be especially noted that in the ensemble the musical material - when performing homophonic-harmonic works - is unevenly distributed between the parties. Someone’s voice is currently leading, and someone’s is accompanying. Naturally, the need arises for dynamic stratification, defining the first and second planes of sound, and constantly maintaining a dynamic balance between the melody and the main and secondary voices in the texture of the accompaniment. When performing polyphonic works, where there is a constant interweaving of many different voices, the partners are in an “equal dialogue.” In this case, the tasks of dynamic interaction change accordingly, becoming more complicated, first of all, for the accompanist, who must trace the polyphonic fabric between the soloist’s part and the parts in the right and left hands.
Issues related to rhythm occupy a special place in joint performance. Sometimes unnoticeable in purely solo playing, individual rhythmic defects in the ensemble can dramatically disrupt the integrity of the impression, disorient partners and be the cause of “accidents”. The ensemble requires from the participants a confident, impeccably clear rhythm. The rhythm in the ensemble must have a special quality - to be collective. Each musician has his own, individual sense of rhythm. This difference is especially noticeable in an ensemble where one partner is a student and the other a professional musician. Imperfections in a student's reproduction of particularly complex rhythmic figures are very often the subject of special work on this by both the teacher and the accompanist.
The most common shortcomings of students are the lack of clarity of rhythm and its stability. Distortions of the rhythmic pattern (its unclear execution) are most often found: in a dotted rhythm; when changing doubles to triplets and vice versa; when replacing sixteenths with thirty-seconds; in conditions of polyrhythm (when the soloist’s part is presented in doubles, and the accompaniment part in triplets and vice versa); in five-beat, seven-beat meters, especially if the soloist’s part contains overlapping notes (in such a case, correctly, without going astray, calculating non-square beats is a very difficult task for the student).
Rhythm distortions also occur during tempo changes in a piece. Often a student, having entered into one rhythm, cannot quickly adjust and accurately maintain rhythmic measurements at a different tempo. In the music of modern composers, there are often works where tempometric and rhythmic changes occur repeatedly. Studying such a repertoire provides good practice in mastering all kinds of rhythmic difficulties.
It is especially worthwhile to dwell on the concert and examination performances of the pianist with the student. At the stage of the work’s release for concert performance, it is up to the accompanist whether he will save the student’s weak performance or ruin a good one. The pianist must think through all the organizational details, including who will turn the notes for the pianist. An experienced accompanist usually pays special attention and specially learns the places where the pages of the clavier turn. A missing bass or chord that a student is accustomed to in class while turning over a sheet of paper can cause an unpredictable reaction, even stopping the performance. Upon entering the stage, the accompanist must prepare to play before the student if they begin performing the piece at the same time. Of course, it is necessary as early as possible, during class lessons, to teach the student to show the accompanist the beginning of the game (for wind players, usually by breathing), but not everyone acquires this skill right away. Sometimes the pianist needs to show the introduction himself, but this should be done as an exception. A student who gets used to concertmaster performances loses the habit of independence and loses the initiative necessary for a soloist.
The next question concerns whether the accompanist should dictate his will to the soloist during a concert performance, setting and maintaining a strict tempo and rhythm. The accompanist and teacher should strive to give the initiative to the student. In a classroom setting, a pianist can demonstrate what tempo and rhythm should be when playing with a trained soloist, but this should only be used as a means to “wake up” the student. The essence of accompanying a young soloist is to help him reveal his, albeit still modest, musical capabilities, to show the playing as it is today.
Unfortunately, it often happens that a student, despite class work, fails to cope with technical difficulties at a concert or exam (most often from excessive anxiety) and deviates from the pace. In such cases, you should not push the soloist with emphasis - this will not lead to anything good except stopping the performance. The accompanist must relentlessly follow the student, even if he confuses the text, cannot withstand pauses or lengthens them. If the soloist is out of tune, the accompanist can try to lead his charge into the mainstream of pure intonation. In the case where the falseness arose by chance, but the student did not hear it, you can sharply highlight related sounds in the accompaniment in order to orient the performer. If the falsehood is not very sharp, but long-lasting, then, on the contrary, you should hide all the duplicate sounds in the accompaniment and thereby somewhat smooth out the unfavorable impression.
A very common flaw in student playing is “stumbling,” and the accompanist must be prepared for it. To do this, he must know exactly where in the text he is playing at the moment. Students usually skip a few bars. Here the accompanist needs a quick reaction. Only in this case will he be able to pick up the soloist in the right place and make this error least noticeable. A more tricky mistake is that, after missing a few bars, the conscientious student goes back to play the missed part. And this happens regardless of the fact that in class he was told that going back was inadmissible. Even an experienced accompanist can simply be confused by such a surprise. Only constant practice of working with students can lead to the accompanist developing the skill of being attentive to the text from beginning to end and the ability to maintain the ensemble with the soloist, despite any surprises.
It happens that sometimes even a capable student, when playing an instrument, becomes so confused in the text that this leads to the sound stopping. The accompanist in this case should first apply a musical cue by playing a few notes of the melody. If this does not help, then you need to agree with the student at which point to continue the performance and then calmly complete the work to the end. The accompanist's self-control and reaction in such difficult situations will help avoid the student's fear of playing on stage. It is recommended to discuss before the performance from which places the performance can be resumed in cases of stoppages in certain parts of the piece being performed.
In conclusion, I would like to note the following: accompanist activity includes many important components and nuances. However, all this is subordinated to one goal - for the student to most fully reveal his musical talent, to feel the artist, the creator within himself, and to overcome the line that separates the soloist from the accompanist. Only in this case can the work of a teacher and accompanist bring them satisfaction.
LIST OF REFERENCES USED:
1. Bragina O. About working on a piece of music. // Issues of piano pedagogy. Issue 3 – M.: Muzyka, 1971. – pp. 77-91.
2. Volodina S.N. Features of sight accompaniment and the development of sight reading skills when training novice accompanists. Methodical work. M.: MVMU, 2001.
3. Kryuchkov N. The art of accompaniment as a subject of training. M.: Music, 1961
4. Kubantseva E.I. Accompanistry is a musical and creative activity.
Music at school. No2, 2001
5. Kubantseva E.I. Methodology for working on a piano part by a pianist-accompanist. Music at school. No4, 2001
480 rub. | 150 UAH | $7.5 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Dissertation - 480 RUR, delivery 10 minutes, around the clock, seven days a week and holidays
Laptev Roman Gennadievich. The art of orchestral ensemble playing on the trombone: Dis. ...cand. art history: 17.00.02 St. Petersburg, 2005 247 p. RSL OD, 61:06-17/56
Introduction
CHAPTER I. History of the development of the trombone as an ensemble and orchestral instrument 14
1.1 Trombone in ensemble music of the 16th - 18th centuries 19
1.2 Features of the formation of a group of trombones in an orchestra of the 18th - 19th centuries 35
1.3 Trombone in Russian orchestral performance of the 19th - early 20th centuries 55
CHAPTER II. Theory and practice of ensemble trombone performance
2.1 general characteristics specifics of playing in a brass ensemble 75
2.2 Analysis of expressive means and their use in a trombone ensemble 87
2.3 Preparing a trombonist for a public performance as part of a chamber ensemble 116
CHAPTER III. Features of the orchestral activity of a trombonist
3.1 Basic issues of orchestral activity of a wind musician 135
3.2 Specifics of playing a trombonist as part of an orchestral group of brass instruments 153
3.3 Characteristics of modern trombone performance in symphony and brass orchestras 162
CONCLUSION 184
BIBLIOGRAPHICAL LIST 190
APPENDIX 1 201
APPENDIX 2 237
Introduction to the work
Relevance of the topic. Orchestral-ensemble playing is the main component practical activities modern musician-performer on any of the orchestral instruments. Mastery of the art of orchestral ensemble playing is the most important qualification characteristic of a professional musician. If in general theory In the domestic wind performing arts, a significant place has already been devoted to the development of issues of solo performance, in the field of playing in an orchestra and ensemble there are still many unresolved problems. Obviously, today there is a need to analyze in more detail the complex and diverse process of the activity of an orchestral instrumentalist within the framework of a comprehensive art historical study. The modern art of orchestral ensemble playing the trombone, which has quite deep traditions, has not yet become the subject of comprehensive scientific and theoretical understanding, so the author set a goal to fill this gap.
Becoming a professional orchestral instrumentalist and achieving high performing skills within the framework of the general laws of the performing process is one of the goals of the activity of the individual musician who initiates his energy and abilities. Most orchestral musicians today have a good command of the specifics, first of all, of solo performance and only then of orchestral-ensemble games.
Thanks to high level development of media technologies, modern performers have access to a large amount of information, which constantly requires comprehension of factual material, its reclassification, accurate selective extrapolation of the necessary information to their specific practical activities.
ness. A balanced scientific approach and unmistakably developed evaluation criteria are needed in order to be able to separate the main from the secondary. Therefore, systematization of scattered accumulated knowledge in this area musical art dictated not so much by insufficient knowledge of individual aspects of the art of orchestral ensemble playing, in this case, the trombone, but by the urgent need to generalize research materials.
The components of the performing creativity of a modern orchestral trombonist include knowledge, skills and abilities based on such “three pillars” as history, theory and practice of playing the trombone. At the same time, it is important to conduct a comprehensive analysis of the specifics of playing an instrument both in an orchestra and in an ensemble. Only by bringing together, figuratively speaking, on one “editing table” all available facts, comprehending their interdependence, the “vector direction” of cause-and-effect relationships between them and expanding existing knowledge, can we hope for the transition of the amount of scientific information to a new quality.
The degree of knowledge of the problem. The information base of modern ideas about trombone performance consists of the works of prominent domestic teachers and performers - V. Blazhevich, E. Reiche, B. Grigoriev, V. Sumerkin and foreign authors - D. Wick, A. Lafos, E. Kleinhammer, D. Reinhardt , H. Kunica, R. Gregory. Certain issues of performance technology are reflected in the works of V. Venglovsky, A. Skobelev and other authors. The specifics of orchestral ensemble playing on the trombone have not yet received a deep scientific substantiation; to this day it remains insufficiently studied, since most authors either leave it aside or give it only a general description. M. Tolmachev addresses the topic of training orchestral instrumentalists and wind players, and
direct to the peculiarities of orchestral trombone performance - only A. Snapkov. The dissertations of M. Khasan and V. Ulyanov have a narrow focus and are not directly related to this topic. The work of the first author - “On the issue of the development of the trombonist’s performing apparatus” is devoted to some sections of the methodology for teaching the trombone. The second study - “Trombone timbre in M.I. Glinka’s orchestra (multifunctionality and coloristics)” contains partial results of a musical theoretical analysis of the use of trombone timbre by M. Glinka.
As already noted, in modern Russian musicology many aspects of solo performance on brass instruments have been studied in sufficient detail, but the art of orchestral and ensemble playing has been given a very modest place. This especially applies to the field of trombone performance, where only small sections in the scientific and methodological works of famous trombonist teachers are devoted to professional orchestral ensemble practice.
An object of this study - the history, theory and practice of orchestral ensemble performance on the trombone.
Item scientific development - the activity of a modern trombonist in the field of ensemble and orchestral music playing.
Target The research undertaken is to further improve the modern art of orchestral ensemble playing on the trombone by solving the formulated problems and developing a scientifically based theory based on the general concept of the formation of musical performing culture.
Tasks research is dictated by its purpose. the main task-an organic synthesis of knowledge about the art of orchestral ensemble playing on the trombone and correlation of its content with the characteristics of performing practice.
The objectives of the study were:
searching for what a number of phenomena in the history of instrumental culture have in common, in order to study the patterns of their development and a clear understanding of their essence;
improving the methodology for classifying knowledge in the field of theory of orchestral ensemble playing on brass instruments and, in particular, on the trombone;
analysis of the principles of the history, theory and practice of playing the trombone in an orchestra and ensemble, known in musicology, from the interdisciplinary positions of musical aesthetics, the history of orchestral styles, and the psychology of performance;
identification of typical and specific functions of the trombone in an orchestra and ensemble, their connection with the results of textural analysis of musical material;
study of the components of the performing technology of orchestral ensemble playing on the trombone in the general context of the art of playing brass instruments;
characterization of the specifics of performance in ensembles of homogeneous and heterogeneous brass instruments;
generalizing the experience of orchestral ensemble playing of outstanding trombone performers and developing methodological and practical recommendations on the basis of this;
searching for directions for further research in the field of performing brass instruments.
Solving research problems leads to the formation of a holistic theory of the art of orchestral-ensemble trombone playing on the basis of a comprehensive complex scientific analysis.
Theoretical methodological basis. The research methodology, which became the basis for the formation of an adequate research approach, has a logical-epistemological, ..scientific-substantive and
methodological levels.
The logical-gnoseological level affects the development of the art of orchestral-ensemble playing on the trombone, the study of connections with other types musical creativity; scientific and content level - analysis of the object and subject, the relationship and interdependence of their components; methodological - analysis of the relationship between theory and practice, structure, principles and patterns of performing activities.
When considering an object of study, both a structural-functional and a systems approach are used, the task of which is to develop a variety of means of representing the object under study and its properties.
In general, the dissertation is based on the concept of complex art historical research used in modern musicology.
Research program included the development of criteria for assessing the art of orchestral ensemble playing on the trombone and the procedure for applying research methods, as a tool for its implementation.
The determinism of research methods, taking into account the principle of unity of logical and historical, is dictated by the complex nature of the study. The first chapter is dominated by theoretical methods - cause-and-effect analysis of the history of the art of playing the trombone, synthesis, comparison, generalization, extrapolation methods; in the second and third chapters, theoretical methods are complemented by empirical ones, such as interviews and the method of expert assessments, in combination with observational methods - objective observation and self-observation, based on the accumulated practical performing and teaching experience of the author of this scientific work.
When conducting research sources of information served different kinds factual material: music
publications and manuscripts (a large volume of orchestral and ensemble literature for trombone); scientific and methodological works devoted to the history, theory and practice of performance, instrumentation, instrumentation; interdisciplinary research; materials from periodicals (“Russian Brass Bulletin”, “Musical Instruments”, “International Trombone Association Journal” and “Brass-Bulletin”); sound recordings; literary sources; materials of fine art from various eras (engravings, graphics, painting); materials from archives and museums; photographic materials; personal observations and recordings of conversations with recognized masters of orchestral and ensemble trombone playing (orchestra artists), conductors, teachers of trombone classes at music educational institutions; resources of the global Internet (Websites of the International Trombonists Association, the world's leading orchestral groups, famous trombone quartets and brass quintets, ensembles early music, the largest manufacturers of trombones and accessories for them).
At the same time, observations and analysis of the practical work of musicians of professional orchestras, as well as teaching activities in the classes of the Moscow State Conservatory named after P. Tchaikovsky, the Russian Academy of Music named after the Gnessins, the St. Petersburg State Conservatory named after N. Rimsky, provided great assistance during the theoretical research. Korsakov, St. Petersburg State University of Culture and Arts, Moscow Military Conservatory. Fragmentary statements from practitioners were systematized so that on their basis it was possible to form a more complete picture of the subject of the study.
The author’s personal performing, conducting and teaching experience played a major role in shaping the conclusions of the study.
Main provisions submitted for defense:
the evolution of the art of orchestral ensemble playing on the trombone is connected with the history of European instrumental music, the evolution of its musical language, the development of timbre dramaturgy along the line of individualization of colors of orchestra groups in the context of the history of the development of musical dramaturgy in general; the appearance of the trombone in the theater and then concert orchestras was due to the long process of formation of their compositions as a result of direct and indirect mergers of medieval instrumental ensembles;
the art of ensemble playing the trombone as a specific type of instrumental performance has a longer tradition than orchestral performance; over the centuries-long period of its existence, this type of performing activity has developed its own specifics, which is manifested in the degree of subordination of voices, the nature of the use of musical expressive means, and the acoustic conditions of performing activity;
The orchestral activity of a trombonist is reflected by a continuous sequence of its components: independent work on the performing apparatus, work on orchestral difficulties (individually, in a trombone group, as part of an orchestral group of brass instruments, as part of the entire orchestra), concert performances; its methodological basis is the performer’s understanding of the functional role of the trombone group in the orchestra, awareness of the general form of the work, the functions of the groups in its structure and development, the role of each group in individual fragments of the work, differing in the architectonics of the orchestral factor.
tours; - current problems of orchestral ensemble playing on the trombone are the contradictions that arise during the implementation of the composer’s performance plan between this plan and the available performing means, between the complexity of the musical material and the professional level of the performers, between the self-assessment of the sound, the assessment of colleagues and listeners; overcoming contradictions affects the problems of both technology and the psychology of performance. Scientific novelty and theoretical significance The research lies primarily in the fact that for the first time in Russian musicology, an attempt was made to purposefully, comprehensively develop issues of the history and theory of playing the trombone as part of an orchestra and ensemble, based on the practical side of their implementation. For the first time, a historical analysis of this type of performing art is being made and, based on the results obtained, conclusions are drawn that characterize the specifics of the orchestral and ensemble practice of the trombonist. Also, for the first time, a retrospective analysis of orchestral scores was used to identify patterns of development of musical expressive means of the trombone group, depending on changes in the style of musical works in the context of the history of musical dramaturgy.
As part of the scientific analysis, the section of the art of playing the trombone in the period of pre-Beethoven symphony is considered. The study confirmed the hypothesis about the formation path of a group of low-register brass instruments in the Russian symphony orchestra and some differences from the evolutionary path traversed by this group of instruments in Western European orchestral and symphonic creativity.
Using the example of an orchestra's trombone group, the features of N. Rimsky-Korsakov's principle of texture analysis - reliance on the dramatic essence of the element - are revealed. musical fabric performed in an orchestra specific group tools.
The dissertation also outlines the specifics of playing the trombone in ensembles of homogeneous and heterogeneous brass instruments. Objective criteria for assessing the technical and semantic organization of ensemble playing on the trombone are formulated and ways for further research in this area of performing arts are outlined.
Practical significance dissertation is that, based on research materials, the author proposes a holistic concept of the formation of knowledge, skills and abilities necessary for a highly qualified orchestral specialist who is fluent in the art of orchestral-ensemble playing of the trombone, clearly aware of his role in the orchestra and ensemble on a technological and artistic levels, in accordance with the requirements of the State educational standard of higher professional education in 2003 in specialty 050900 - instrumental performance (by type of instrument: 03 - orchestral wind and percussion instruments; by qualification: concert performer, orchestra artist, ensemble artist, teacher).
The dissertation also has practical significance associated with the publication of its main results in the form of scientific articles, textbooks and programs, deposited manuscripts.
Recommendations for using the research results. Some conclusions and provisions of the dissertation may be in demand in practical activities by orchestral performers, musicians of instrumental ensembles, teachers of trombone classes, orchestral classes, and chamber ensembles. Part of the material can be used when delivering lecture courses on instrumentation, instru-
rumentation, history of performance and methods of teaching playing wind instruments in higher and secondary specialized music educational institutions. The author hopes that the content of the dissertation and the conclusions drawn during the research will be of interest to composers, conductors, musicologists and specialists in the military orchestral service.
Approbation of research results in general and individual conclusions of the dissertation chapters, the dissertation was successfully completed during practical work with the trombone quartet, brass quintet and concert orchestra of the Moscow Military Conservatory, with the orchestras of the headquarters of the Leningrad and Moscow military districts, in the military orchestras of the Leningrad military district, as well as during pedagogical experiments in the trombone class of Professor VLkovlev and Associate Professor Yu. Beloglazov (Moscow Military Conservatory). In addition, the results of the study were presented at the republican scientific-practical conference“Current problems of training brass music specialists and improving the skills of brass band conductors” in 2005 in Ufa (Republic of Bashkortostan).
The results of the study have already been introduced into the educational process of the Moscow Military Conservatory, St. Petersburg State University of Culture and Arts, Moscow military music school and the Moscow Cadet Music Corps. The research materials are also used when delivering lectures at officer training courses for military conductors.
The dissertation was discussed at the Department of Military Band Instruments of the Moscow Military Conservatory and recommended for defense.
Structure of the dissertation work is determined by the general logic of its composition: the history of the art of orchestral-ensemble playing on the trombone, the theory of the game (characteristics of the specifics, means, features) and analysis of the practice of orchestral-ensemble performance on the trombone. The dissertation consists of three chapters, Introduction, Conclusion, Bibliography and Appendices. Its volume is 247 pages, of which 47 pages are occupied by Appendixes. The appendices contain: 75 illustrations, 3 diagrams, 6 tables. The text of the dissertation contains 70 musical examples. The bibliographic list contains 208 titles.
Trombone in ensemble music of the 16th - 18th centuries
Y. Fortunatov in “Lectures on the history of orchestral styles”1 notes that the orchestra was born from the endless variety of medieval episodic ensembles, as a result of their indirect or direct mergers. Indeed, the concert culture of the Renaissance and Baroque is characterized primarily by the richest ensemble practice, which became the first stage in the formation of the orchestra. Along with church music playing, wind ensemble performance also appears in secular musical practice.
A significant role in the development of ensemble instrumental culture on the way to the formation of an orchestra - opera and concert, was played by the traditions of city tower musicians, as well as performers of church chapels, military brass bands, secular and estate ensembles. According to E. Albrecht: “guards were placed on the city watchtowers, whose duties were to notify the city of any approaching danger. With the appearance of the enemy, the guards from the heights of their towers notified the inhabitants through trombone sounds. These watchmen, in their free time, practiced playing their instrument and little by little improved in this so much that they finally began to play the melodies of songs. Subsequently, a custom was established according to which wind songs were played on the towers, first on holidays, and then every day at dusk. This custom has survived to the present day and is now still found in small towns and villages in Germany. In some places, even the ringing of bells in churches was replaced by the sounds of horns and trombones.”1
Music for ensembles of brass instruments was created especially for outdoor performance. So, for example, for tower musicians D. Speer (1636-1707) wrote a Sonata for four trombones and a Sonata for three trombones and two zincs, and the famous Saxon trumpeter I. G. Reiche (1667-1734) created 24 two-part sonatas (consisting of preludes and fugues) for three trombones and zinc (1696), which were performed on the towers of city fortifications and town halls. It is interesting that zincs (cometti) (See Appendix 1, Fig. 26) were often combined with trombones in ensembles (See Appendix 1, Fig. 27). As a rule, they were entrusted with the parts of the upper melodic voices. In the same way, zincs were included along with trombones in church ensembles. The bass variety of zinc - cornon (cornon or corno veil Cornetto torto) was often replaced by a trombone due to the sharpness of the timbre. Later in France it was he who became the prototype of the serpent - a bass zinc with a mouthpiece similar to that of a bass trombone (See Appendix 1, Fig. 30). M. Mersenne2 and A. Kircher3 write about this in more detail in their works.
In Germany, in almost every city, musicians who played trumpets, trombones and zincs formed professional associations - “Stadtpfeifern”, which later led to the creation of city brass bands.
In addition to tower music for ensembles with the participation of trombones, one can also name works written for special occasions, for example, the four-voice Motet by A. Romani, composed on the occasion of the installation of the Venetian Doge Tommaso Mocenigo. The lower two voices were performed on trombones, and the upper diatonic vocal parts were doubled by natural trumpets. The Venetian doges were accompanied by an orchestra of trumpets, trombones, shawls and other instruments. In the ensemble of St. Mark's Cathedral, at first there were only brass instruments and only later strings were added. In Florence, during the era of Lorenzo de' Medici (late 15th - early 16th centuries), orchestras, along with shawls, pommers, bombards, zincs and horns, also included trombones. (See Appendix 1, Fig. 31, 32).
Trombones sounded on all special occasions, during holidays and processions. On carnival and holiday days, singers and musicians performed: flutists, trumpeters, trombonists. For example: “During the ceremonial departure of the Queen of Cyprus to Venice in 1497, an orchestra played, divided into two groups: one, consisting of 24 people, used lutes, viols and percussion; in another - from 10 people - trombones and flutes"1. In the motet “The Roses Recently Bloomed” by G. Dufay (c. 1400-1474), which was performed for the first time during the solemn consecration of the cathedral in Florence, the harmony of the choir is supported by wind and string instruments. Among the brass there were two trombones2.
The reason for the popularity of the trombone in church ensemble practice lies in the possibility of widespread use of its main advantage - free intonation. It is known that a trombone ensemble, like a singing choir, has the ability to perform music not only in tempered, but also in pure tuning, without compromising the intonation of the sounds of the scale. In addition, the trombone is close in timbre to some organ registers, and in tessitura - to the male voice. Trombonists were usually located in the choirs, cathedral towers, and duplicated the sound of the male choir, which created a spacious, dense sound and interesting acoustic effects.
Works were published in 1513-1521 famous musician, trombonist who served at the Mantuan court and then moved to Venice - Bartolomeo Tromboncino (c.1470 - after 1535). He was the author of many frottola, the predecessors of the madrigal, which later played a major role in the development of opera and oratorio. Frottolas and madrigals were written for compositions that included both pure and mixed vocal and instrumental timbres, including trombone timbres.
General characteristics of the specifics of playing in a brass ensemble
Characteristics of the specifics of playing in a brass ensemble include:
The essence, content and structure of the performing process, a description of its patterns and features;
Typology of performing tasks, reflecting the relationship and interaction of musical expressive means;
Structure, stages and conditions for the formation of performing skills;
Current problems of ensemble performance on brass instruments.
It is necessary to immediately determine such an important unit of the categorical apparatus as the concept of ensemble itself. The point of view on any of the problems of ensemble performance completely depends on the interpretation of this concept. In this chapter, the concept of an ensemble in which trombones participate (whether it is a trombone quartet, a quartet of three trombones and a tuba, a brass quintet, or other instrumental compositions) means primarily a chamber ensemble, and not a group of trombones in an orchestra. Despite the commonality of expressive means, differences in performance issues required a differentiated approach. Issues of theory and practice of playing as part of a trombone group in an orchestra are discussed in the third chapter of this study.
Performing activity in a brass ensemble is one of the most interesting subjects to study. And today, the relevance of analyzing the experience of ensemble performance on brass instruments, including the trombone, has not lost its urgency.
Playing in an ensemble of brass instruments is characterized by artistic and expressive, impeccably coordinated at all levels, technologically and stylistically unified reproduction of the musical text, taking into account the nature and performing specifics of specific instruments. Therefore, in the process of working on musical material, it is necessary to look for effective ways to most convincingly solve particular problems that arise before the performer.
The art of playing in an ensemble of brass instruments, as a specific type of instrumental performance art, has much longer traditions than orchestral performance. Over the centuries-long period of its existence, this type of performing activity has developed its own specificity, selecting in the course of evolution the most significant features, which will be discussed further.
Orchestral and ensemble techniques for playing wind instruments have both commonality and differences. Even representatives of the same seemingly instrumental family, for example, brass instruments, have much more differences in the specifics of orchestral activities than they have in common. These differences, as if under a magnifying glass, become even more obvious when considering the features of ensemble playing. Each of the brass instruments here has its own specificity - the performers not only play them in an ensemble differently, but also think differently. This knowledge of the specifics of instruments, the peculiarities of performing thinking and the ability to use it in practice constitute the essence of ensemble mastery.
In order to analyze the main issues of the specifics of playing in a brass ensemble, it is advisable to first take a look at the structure of instrumental performing art as a whole. This is dictated by the need to proceed from objective ideas about the relationship between the general and the particular in order to further determine the place of ensemble performance on the trombone in this structure.
Having distinguished from mixed instrumental ensembles, including strings, winds, keyboards and percussion instruments, ensembles consisting only of wind instruments, we will clarify their classification. Wind ensembles, in turn, can also be mixed - they may contain both wooden and brass instruments (classical quintet: flute, oboe, clarinet, bassoon and horn). Ensembles of both woodwind and brass instruments can form homogeneous ensembles (flute duet, clarinet trio, quartets of horns, trombones, etc.) and ensembles of heterogeneous instruments (brass quintet: two trumpets, horn, trombone and tuba). Today, ensemble performing practice on authentic brass instruments is also quite developed. There are ensembles of buccins, sakbuts, zincs, alpenhorns, horn orchestras, etc. (See Appendix 1, Fig. 11, 13, 61-66). Based on this, the specifics of playing in wind instrument ensembles have features common to all ensembles, and specific differences characteristic only of their specific varieties.
Basic issues of orchestral activity of a wind musician
The orchestral activity of any modern instrumentalist represents creative process including concert practice, rehearsal work and independent studies.
Concert practice has varieties that leave their mark on the nature of orchestral activities: scheduled performances (including subscription concerts); unscheduled concerts; tours with the orchestra; participation in work on sound recordings, etc. Concert performances are practiced both under the guidance of permanent conductors of the orchestra and with guest conductors. In addition, they have their own specific characteristics: work in a symphony (concert and theater orchestras), in a brass band (including in a stage orchestra opera house), in the pop orchestra.
The success of these types of concert activities, in turn, largely depends on:
Organizations rehearsal work orchestra, which, in addition to general orchestra rehearsals, also includes group lessons, conducted, as a rule, by accompanists of instrument groups;
Regular independent training for each orchestra musician, aimed at maintaining the performing apparatus in constant shape and improving the performance of complex fragments of musical text found in orchestral parts, orchestral solos that require additional work. Thus, the entire process of the orchestral activity of a wind musician is reflected by such a continuous sequence of components:
Independent work on the performing apparatus and orchestral difficulties;
Working on orchestral difficulties in a group of similar instruments;
Working on orchestral difficulties as part of an orchestral group;
Rehearsal practice as part of an orchestra;
Concert performance (or participation in a sound recording).
At the rehearsal stage, preliminary work on musical works takes place, the nature of which depends on how many rehearsals are allocated for preparing the performance program and how much new musical material is included in this program. In this context, attention is required general principles professional thinking during rehearsal work: features of the auditory activity of an orchestral musician, the specifics of reading notes from a sheet and working on orchestral difficulties encountered in wind instrument parts.
The characteristics of the differences between concert performing activities and rehearsal activities include technological and psychological issues (including technological and psychological aspects of interaction with colleagues in a group of similar instruments, with members of other wind instrument groups, with musicians of other orchestral groups, with the orchestra conductor).
The technology and psychology of the orchestral activity of a wind musician is largely based on the principles of ensemble performance on wind instruments, since this type of performance itself originated from ensemble music-making, as noted in the previous chapters of the study. As a rule, a small amount of time is allocated to the solo playing of a wind musician in orchestral performance activities; the bulk of the time is allocated to ensemble playing as part of an orchestra. Between orchestral and ensemble playing There are many similarities, but there are also significant differences associated with the division of the orchestra into groups of instruments, which is not the case in ensemble practice.
The readiness of orchestral musicians to perform a work that has a multifaceted, deep content is determined by the degree of awareness by the musicians of all groups of the orchestra of the general form of the work, the functions of the groups in its structure and development, the role of each group in individual fragments of the work, differing in the type of orchestral texture. It is from this awareness that a convincing performance of a work emerges. This unity of technological and artistic content aspects arose in the early period of the history of instrumental culture, starting with the traditions of performing polyphonic music and early Baroque music. Then it found further development in classical music and was finally strengthened in the music of romantic composers.
The basis for the formation of a unique algorithm for the auditory activity of a professional orchestral instrumentalist in each specific case is information about the style, genre, era of creation of a musical work, already contained in the name of the author, a possible program, and sometimes in the title of the work. This information implies certain ideas about articulation, line culture, timbre and dynamic palette of a musical work, its tempo and meter-rhythmic structure. The dependence of the nature of the orchestra's sound on these ideas is somewhat different in orchestral cultures different countries, but in general is subject to one immutable canons.
The sense of form, genre and style of the music performed leaves an imprint on the entire orchestral activity of the wind musician: the same element of texture in a group of wind instruments cannot sound equally expressive in the first and final parts of the sonata-symphonic cycle, in the opera stage and symphony , with L. Beethoven and S. Prokofiev, on stage in a large symphony orchestra or in orchestra pit musical theater
The same can be said about the influence of orchestration principles on the orchestral activities of wind instrument performers. German and French school orchestrations, for example, differ in the different nature of the mixing of timbre colors, which has already been noted above. German authors orchestrations tend to mix timbres, French ones - to individualize pure timbre colors, which was even more manifested in the Italian orchestral tradition1.