The guitar is the most popular musical instrument. There are many more people who play the guitar, even at the level of a few chords, than those who play any other instrument. And probably even more who would like to learn how to play it. The guitar is the most common instrument. At first glance, it may seem that mass and prevalence are one and the same thing. This is wrong. For example, in some European countries harmonica can be considered a massive and very popular instrument, but the rest of the world treats it rather coolly. And the guitar is widespread on all continents, including now Antarctica. The guitar has even been in space. Probably, over time, other instruments will be there, but the guitar will forever remain the leader.
In Russia, the guitar developed in two directions: both seven-string and six-string. Unlike the seven-string guitar, its six-string variety developed in Russia XVIII– XIX centuries almost exclusively as a professional-academic instrument and was little focused on the transmission of Russian folk songs and everyday romance.
Since the mid-19th century, the educational role of the six-string guitar has increased significantly. Concert performances of domestic six-string guitarists, such as N.P. Makarov and M.D. Sokolovsky, became an important means of musical education for numerous fans of the instrument in Russia.
Also, in the first years of the 20th century they acquired. The role of various guitar circles. The activities of prominent guitarists-performers and teachers V.A. are becoming widely known. Lebedeva, A.P. Solovyova, V.P. Uspensky, V.M. Yuryeva.
Since the second half of the 1950s, the concert activity of guitarists has significantly intensified: A.M. Ivanov-Kramsky, B.P. Khlopovsky, L.A. Menroe, L.F. Andronova, Ya.G. Puholsky.
From 1950-80 Guitar classes are opened in music schools and secondary specialized educational institutions, and then in higher education. Talented performers and composers appear, various competitions and festivals of performers are held, and sheet music for the guitar appears.
Many Russian performers playing folk instruments, they actively promote their creativity, give a lot of concerts and thereby win recognition from the public. Chelyabinsk (Ural) guitarists are also among them.
At the beginning of the third millennium, the festival and competition movement in the guitar specialty became very active. 10 festivals “Classical Guitar in the Urals” were held in Chelyabinsk; the world's only festival of guitar concerts with a symphony orchestra is regularly held in Yekaterinburg; In Perm; in 2005, a new festival “Kamensk Meetings” was born in Kamensk-Uralsk; Magnitogorsk is hosting a special festival in memory of the musical master Ivan Kuznetsov, which brings together classics, pop music and bard song performers.
Thus, we can say that the guitar in large Ural cities is currently experiencing a noticeable rise, which means we can expect the emergence of new interesting performers and composers who will be able to reach new creative heights in music for the guitar.
The thesis will tell as much as possible about our Chelyabinsk guitar musicians, talk about their achievements, victories in competitions, repertoire, and creative plans for the future.
I believe that the relevance of the topic of the thesis lies in the need to study the development of guitar performance in Chelyabinsk (in the Urals) in order to increase interest in their art, identifying new talented performers and composers in Chelyabinsk.
The object of study in the thesis will be the performance of guitarists in Chelyabinsk from the beginning of the 20th century to the present.
The subject of study will be the creativity of guitar performers of this period.
The hypothesis in the thesis can be defined as follows: the creativity of our modern guitar performers corresponds to the world level when using the performing experience of their predecessors and what new they brought to the development of the guitar art of our country under the influence of various guitar schools in Russia, pedagogy and performance.
Purpose of the study: to study the performance of domestic and modern guitarists in Chelyabinsk.
Hence the research objectives:
1. Studying the influence of various domestic schools on the formation and development of guitar performance in Chelyabinsk;
2. Studying the creative path of contemporary Chelyabinsk performers and determining the stages of development of their creativity;
The main research methods are: analysis of printed materials from books, articles in magazines and newspapers, conversations with performers.
The theoretical significance is as follows: the formation and development of guitar performance in Chelyabinsk will be highlighted and its stages will be determined.
Practical significance lies in research work on the works of musicians, biographical information, and concert activities.
The basis of the research is the creativity of guitar performers in Chelyabinsk.
History of origin
According to the leader of the Trio, Viktor Kozlov: “The idea appeared when we began to draw up the program of the First All-Union Guitar Festival, which was held in 1991 in Chelyabinsk. It turned out that we have only soloists. And since there are so many works for ensemble performance, we decided to compensate for this gap on our own. At first we prepared a small program, and then we realized that playing together was a very exciting activity.”
So, the “Trio of Guitarists of the Urals” was formed in 1991 in the process of preparing the first All-Union Festival of Guitarists, which was held in Chelyabinsk from November 18 to 21, 1991.
The element of “chance” in the creation of the ensemble is apparent. If, again, we turn to philosophy, then any accident is associated with necessity. And this “necessity” of unification lies in the fact that every musician-performer, who has a certain professional background, strives for a creative union, for joint performance. Even all the great musicians - soloists, world performing stars, play chamber repertoire and with a symphony orchestra. The desire to unite and play music together is a natural process for almost every musician. It was precisely this desire for professional association that prompted the Ural guitarists to create an ensemble. By that time, each of the ensemble members already had serious stage experience in solo work: in 1990, Viktor Kozlov, as a performer, was awarded a diploma from the All-Russian competition in Nizhny Novgorod. Sharif Mukhatdinov has been involved in concert activities since 1974 as an artist of the Chelyabinsk Philharmonic. Yuri Makarov took part in the Regional Competition of Performers in honor of the 100th anniversary of the birth of V.V. Andreev in 1988. This is how a musical performing community of like-minded people was born: Viktor Kozlov, Sharif Mukhatdinov, Yuri Makarov. And since 1996, Yuri Makarov was replaced by Viktor Kovba.
Concert activities
The group's first public performance took place on November 19, 1991. The program included the following works:
J. S. Bach - “Gavotte” from English Suite No. 4
A. Vivaldi - Andante
V. Kozlov - Round Dance and Waltz
Fantasy by C. Monteverdi
3 scherzo
Y. Radzetsky - Circular dance
The audience received the performance more than favorably. The musicians' intuition did not let them down - the content of the music and the form of the group aroused the keenest interest of the listeners.
The existing professional performing base immediately allowed the ensemble members to turn to a repertoire that was quite complex in artistic and technical terms, gradually expanding it in all its genre diversity.
The performance venues expanded geographically: Chelyabinsk, regional cities. Then Moscow, Voronezh, Omsk, Ulyanovsk, Yekaterinburg, St. Petersburg, Bashkiria, Kazakhstan, Ukraine.
In August 1993, the first foreign trip to Hungary to Esztergom and the first victory took place. A trio of guitarists from the Urals became winners of the international festival of guitarists. In October 1994, Ural musicians attended an international guitar festival held in the Polish city of Tychy as guests. In the fall of 1996, an ensemble of guitarists toured Finland at the invitation of the Kuonio Conservatory. The musicians gave five concerts in five cities. They performed at the Conservatory and the Institute of Music.
Finnish newspapers and magazines wrote about the originality of the Russian trio, performing original music by new contemporary authors and creating their own unique arrangements of classical works.
Professor of the Helsinki Institute of Music Yusipekka Rananyaki after one of the concerts wrote literally the following in the magazine “Guitarist”: “the musicians play so harmoniously that it seems as if one instrument sounds, with a wide variety of timbres and colors. Finely selected dynamics give the sound of the pieces extreme brightness. I look forward to new meetings with the musicians of the Urals.”
The second trip to Finland took place in 2002, where they played 8 concerts, each with great success.
From the list of cities and countries it is clear that success among listeners and attention accompanied the musicians, both in the cities of Russia and abroad. The playing of the Trio of Ural Guitarists is distinguished by high professionalism, clear interaction, deep penetration into the content of the works performed, and excellent technique. We must pay tribute to the quantity and versatility of the musical material performed. These are more than 150 works. The literature for guitar ensembles is quite limited. The Chelyabinsk trio has the honor of being the discoverer of undeservedly forgotten and rarely, and sometimes not at all, performed works of the Baroque era in our country. Stylistic sensitivity helps musicians equally perfectly interpret the works of A. Vivaldi and G. Telemann, penetrate into the depths of the works of J. S. Bach, G. F. Handel, and C. Monteverdi, and highlight the coloristic richness of spectacular plays. D. Scarlatti, D. Gragnani. In each direction of European Baroque they try to find their own special vocabulary. Musicians feel calm and confident in the classical repertoire. The works of J. Bizet, P. Tchaikovsky, V. Rebikov, A. Ivanov-Kramsky sound spiritually, amazingly poetic, artistically justified and convincing when performed by the ensemble. Here is what V. Kovba says about this: “From the classics, we play on the guitar what has not been performed by anyone before us. Among the most popular things I would name “Dance of the Cockerels” by P. Tchaikovsky, “Russian Dance” from the ballet “The Nutcracker” and the suite from Oprah “Carmen” in 3 parts.
The trio devotes a large place in its concert practice to the promotion of modern Russian music. Among the authors with whom the artists have formed a long-standing and strong creative alliance are V. Uspensky, I. Rekhin, Y. Galperin, E. Poplyanova, S. Ilyin, N. Malygin and V. Kozlov. Among the modern foreign composers who collaborated with the trio, I would like to highlight Paolo Bellinatti (Brazil), Atanas Urkuzukov (Bulgaria), Wese Pelki (Finland). As we can see, the scope of the repertoire covers a significant time period and varied content. This, naturally, requires musicians to feel the style of the work being performed and to have the technical capabilities to embody and transmit to listeners pieces that differ in content and form. And this amazingly bright community of artists arises thanks to the warmth, strength, and sincerity of musical experience, the internal dynamism of the game, the expressiveness of phrasing, the performing will, the ability to grasp the whole and subtly highlight the details.
Educational activities
Nowadays, with the gigantic pace of life, it is very difficult, while seriously concentrating on folk music (performing for a trio), to do something else big and significant. And yet, this great and significant thing was done: the Association of Workers was organized classical guitar in the Urals. It was through the efforts of the members of the trio of guitarists from the Urals that the Association of Guitarists of the Musical Society of the Chelyabinsk Region (original name) was created in 1991. It is difficult to overestimate the importance of this organization for the development of guitar art. The main goal of the Association is to ensure that guitarists of the Ural region (teachers, performers, professionals and amateurs) are aware of what is happening in guitar life both in our country and abroad, what new trends are emerging in performance and pedagogy. This organization allows you to keep abreast of all significant domestic and foreign phenomena related to the guitar.
As one of the areas of its work, the Association of Workers
classical guitar in the Urals holds classical guitar festivals at
Ural. As V. Kozlov says: “Our main task is to help
teachers and their students to master the methodology that we bring
from other cities. It is in many ways more advanced and more comfortable.
In addition to seminars, we hold annual festivals of classical guitar and
competitions for young guitarists.
The classical guitar festival in the Urals has a fifteen-year history. It began quite modestly: the first concerts took place mainly in the small hall of the Chelyabinsk Higher Music School: the festival program included a competition of young performers (mainly from the Ural region) and concerts of guests and participants.
Then, in the early 90s, it seemed that the organizers of the festival - the Ural trio of guitarists V. Kozlov, Sh. Mukhatdinov, Yu. Makarov - took on an impossible task: the country was living hard, people were thinking about pressing problems - is there any room for art here? However, the festival, despite everything, survived, won, and strengthened. Chelyabinsk defended its right to be called a city not only of metal, but also of music.
Today, the classical guitar festival in the Urals is a large-scale cultural event, including a competition for young performers, master classes by leading Russian and foreign teachers, seminars on the problems of guitar performance and pedagogy, numerous concerts of guests and participants, television and radio broadcasts, presentations of new literature for classical guitar . Does the geography of the festival cover almost all of Russia? Guests and members of the festival jury were such outstanding guitarists as: N. Komolyatov, A. Bardina (Moscow), V. Zhatko (Kyiv), Y. Kuzin, E. Lebedeva, V. Gorbach (Novosibirsk), S. Kordenko (Voronezh) ), D. Dovgopol, V. Ostanin (Ekaterinburg), I.Kuznetsov, (Magnitogorsk), etc.
In recent years, foreign musicians have also begun to come to the festival: Miro Simic (Sweden), Veza Pelki (Finland), Sven Landestad (Norway). The Ural festival gave a start in life to many young performers, who were subsequently awarded awards at All-Russian and International competitions. Among them are I. Kulikova, I. Fedorenko, D. Ivchenko (Chelyabinsk), M. Belchikov (Leningrad region, now studying in the Czech Republic), I. Nasobina (Studying at the Royal College in England), V. Rodichev (St. Petersburg) , O. Kiselev (Asha), I. Nikolaevsky (Magnitogorsk). And the last stars are Pushkarenko E. and Pushkarenko E. (students of the Gnessin Music College). A. Genger and D. Chernov became laureates and diploma winners of international and all-Russian competitions.
Any serious business is impossible without a publishing house, methodological support, and original literature. Unfortunately, there is less and less room in the sea of commercial commercial printed products for statewide classical guitar. And again, the ensemble members did not remain aloof from this problem. We can say that they accomplished the impossible: they established a regular publication of literature for the guitar, a whole series called the Ural Collection. It began publishing in 1997. To date, a series of eight collections with a total circulation of 3,200 copies has been published throughout Russia, in countries near and far abroad. They provide material with extensive content: domestic guitar and foreign classics, arrangements for guitar, works by a variety of composers, local authors, guitar ensembles and guitar ensembles with other instruments. The collections outwardly can easily compete with commercial literature - excellent design, high-quality paper, very capacious and accessible content, clear comments and necessary information. The Chelyabinsk TV and Radio Broadcasting Company made numerous recordings of works by Ural composers and guitarists - V. Kozlov, Sh. Mukhatdinov, D. Dovgopol, E. Poplyanova, D. Milovanov.
It is necessary to say about one more creative field of activity for musicians. This is composition, arrangement, instrumentation. The ensemble members have a great feel for the features and capabilities of the classical guitar, and know the subtleties and specifics of the means of working with musical material. All guitarists are actively working on the arrangement, carefully treating the original source, accurately understanding the content, and being able to present this content through the choice of optimal performing means, using rich methodological and performing experience. The main arranger of the ensemble is Viktor Kovba. Numerous arrangements made by members of the Ural Guitar Trio are actively used in teaching activities, are included in the educational repertoire of music schools, secondary and higher educational institutions, and are played on the professional stage.
Composition and performance are two equal components for Viktor Kozlov. He cannot imagine himself outside of composition. Victor, while still a guitar student at a music school, began studying composition. At the school he studied composition under the guidance of Yu. Galperin. And at the conservatory this activity developed even more actively. The first international recognition as a composer came in 1989 in the city of Esztergom (Hungary), where the musician became a laureate of a composers' competition. In 1998 (November), Moscow, at a guitar composition competition, the suite “Black Toreador” was awarded a Diploma. Currently, V. Kozlov is a well-known composer in our country and abroad. He has written more than 100 works for guitar, guitar ensembles, and guitar ensembles with other instruments. Works for guitar are published in Russia and other countries, in particular in England, Germany, Italy, Poland, Finland.
The English guitarist and musical critic Paul Fowles in the English magazine “Classical Guitar”: - “As the author of original world-class miniatures, V. Kozlov is the first of the talented composers of comedy works, which in itself is a rare quality in the busy world of modern music.”
The trio musicians do not limit ensemble playing only to their group. The trio sometimes “breaks up” into duets. V. Kozlov plays with the laureates All-Russian competition, Honored Artist of Russia, flutist A. Abdurakhmanov (at one time, Victor played music with the leading domra player T. Volskaya, with the balalaika virtuoso A. Bykov and others). In 1998, he released his first CD, “Meditation for Solo Guitar,” which was highly appreciated by professionals and enjoyed great success among listeners. V. Kovba creatively collaborates with the singer, Honored Artist of Russia I. Galeeva, who updates her vocal cycles with enviable consistency and is always in excellent shape. U. Sh. Mukhatdinov's career was quite original. Unusual duet: guitar and violin viola (N. Tatarinskaya).
As we see, the trio’s musicians are looking for new ways to realize their creative powers, experimenting without being confined to the corporate space.
The concert of the Trio of Ural Guitarists was recorded by Radio Classica in St. Petersburg in 1994 in the small hall named after M. I. Glinka of the St. Petersburg Philharmonic. The first laser disc was released.
Trio musicians play beautiful instruments made personally for each by a wonderful guitar maker I. Kuznetsov, (who, unfortunately, died in February 2002).
Together they achieve inspired music-making, in which each participant creates for himself, and at the same time continuously anticipates the plans of his partners. The result is not just ensemble harmony, but a single creative impulse. Such achievement of harmony in all areas of their activity is born of intense, tireless, persistent work. The Trio's entire life in art is an example of creative restlessness and rare demands on oneself in the name of love for the guitar and loyalty to one's favorite work.
Pedagogical activity
The scope of the ensemble is not limited to one performing work. For a musician in his creative prime, the need to play, be on stage, and communicate with the public is a way of life, a necessary condition of existence. The members of the Ural guitar trio are also no exception. But still, the second aspect - pedagogy - occupies a large place in the life of each member of the trio. The pedagogical activity of all the trio musicians is directly related to the enormous work they have been doing for many years: educating young guitarists, forming a performing base for students in art schools, secondary and higher educational institutions - a very responsible task, not every teacher can handle, much less a performer, actively engaged in concert activities.
All the trio musicians feel comfortable in teaching, as they say, like a fish in water. Over the years, I have accumulated more than significant methodological experience in learning to play the guitar. Honored Artist of Russia Sharif Mukhatdinov has been involved in teaching since 1968. His young talents systematically become laureates of city, regional, and Russian shows and performing competitions. Among his students is Viktor Kozlov, a member of the Ural guitar trio, Honored Artist of Russia. Viktor Kovba played in a quartet of guitarists led by Sh. Mukhatdinov in the 60s. In the same ensemble of guitarists, in the same years, V. Ustinov also played, who, with another student of Sh. Mukhatdinov, Anatoly Olshansky, invented the “Gran” guitar (A. Olshansky worked for a long time as an accompanist for the famous singer Alexandra Strelchenko. Now lives in Vienna). Students of Sh. Mukhatdinov work in music schools in the city of Chelyabinsk and the Chelyabinsk region - these are Vyacheslav Shtykhvan, Ekaterina Surkova, D. Shagiakhmetova, and many, many others. We can safely say that Honored Artist of Russia Sharif Mukhatdinov was at the origins of the formation of the South Ural school of guitarists.
Viktor Kozlov has been in the teaching field since 1987. Now he is a professor, head of the department of folk instruments at the Chelyabinsk Institute of Music named after P.I. Tchaikovsky. V. Kozlov also trained a significant number of guitarists, teachers, and performers. Among them: laureate of the International Competition Irina Kulikova, now a student at the Russian Academy of Music, former student of the teacher Nikita Morozov also studies there. Ekaterina and Evgeny Pushkarenko, also graduates of Viktor Kozlov, study at the Gnessin School. It is impossible not to mention the current students of Viktor Kozlov - the laureate of international competitions Alfred Genger, and the laureate of the All-Russian competition Dmitry Chernov, who continue to proudly carry the banner of the Ural guitar school. Honored Artist of Russia Viktor Kovba teaches at the Chelyabinsk Academy of Art and Culture, and combines work at a music school since 1994. Viktor Kovba has already trained several laureates of regional and open Russian competitions. (V. Kovba joined the trio in 1996, after many years of philharmonic work, which he had been involved in since 1972).
Thus, thanks to the many years of pedagogical work of the Participants of the Trio of Ural Guitarists, a huge army of children, teenagers, and adults had the opportunity to acquire a specialty: to join the great world of music, classical guitar, and musical culture.
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Dating back to the 2nd millennium BC. They depict instruments with a small body made of tortoise shell or pumpkin.
In Ancient Egypt, guitar-like instruments were so closely associated with the life of the people that they became a symbol of goodness, and their outlines were included in hieroglyphic signs, denoting “good.”
There is an assumption that the guitar originated in the Middle East and from there spread throughout Asia and Europe.
Russia was introduced to the six-string guitar by the Italians, who served at the court of monarchs and court nobility. History has preserved the names of two Italians - Giuseppe Sarti and Carlo Canobbio. Italian composer Giuseppe Sarti, according to Countess V.N. Golovina, willingly played the guitar. Carlo Canobbio taught the three daughters of Paul I to play the guitar, receiving a very substantial reward for these lessons - 1 thousand rubles a year.
There were still few guitar fans then. The Italian virtuoso musician Pasquale Gagliani, who performed in the salons of the court nobility, managed to somewhat expand the circle of instrument lovers. After several years of his activity in Russia, Galyani released a collection of etudes and exercises - something like a textbook on playing the guitar.
The Italians tried to arrange folk songs for guitar, but they were not successful: the six-string guitar was not fully adapted to the structure of Russian folk music. That is why the Russian seven-string guitar appeared around the same time.
In 1821, Marcus Aurelius Zani de Ferranti (1800 – 1878) came to Russia. Niccolò Paganini, who had heard many virtuoso guitarists, assessed Zani de Ferranti’s playing as follows: “I hereby testify that Zani de Ferranti is one of the greatest guitarists I have ever heard and who gave me inexpressible pleasure with his wonderful, delightful playing.” It is to this guitarist that Russia owes the fact that the six-string guitar has become widely known here. The musician gave a lot of concerts, and he also had to play in large halls. He was also a composer - he composed nocturnes, fantasies, and dance music. Tsani de Ferranti gave guitar lessons to those who wanted, but only initial ones, not making it his goal to turn the student into a professional guitarist.
Unlike the seven-string, its six-string variety developed in Russia in the 17th – 19th centuries almost exclusively as a professional and academic instrument and was little focused on conveying urban songs and everyday romance.
At the beginning of the 19th century, schools and manuals for the six-string guitar by I. Geld and I. Berezovsky appeared, in which they mostly relied on Spanish and Italian classics - guitar works by Mauro Giuliani, Matteo Carcassi, Luigi Legnani, Ferdinando Carulli, Fernando Sora, and transcriptions piano music of outstanding Western European composers. A significant role in the spread of the six-string guitar in Russia was played by the tours of outstanding foreign guitarists - in 1822 in St. Petersburg there were performances by the Italian Mauro Giuliani, in 1923 in Moscow by the Spaniard Ferdinand Sora.
Western musicians aroused interest in the classical guitar in Russia. IN concert posters The names of our compatriots began to appear. The most prominent Russian performers and promoters of the six-string guitar were Nikolai Petrovich Makarov (1810 – 1890) and Mark Danilovich Sokolovsky (1818 – 1883).
N.P. Makarov was born in the Kostroma province, in the family of a landowner. In 1829 he was lucky enough to hear Paganini play, and in 1830 he attended a Chopin concert.
Niccolò Paganini shocked Makarov so much that the impression of his playing could not be eclipsed by any of the subsequent musicians.
N.P. Makarov set out to achieve first-class guitar playing. The musician studied for 01–12 hours every day. In 1841, his first concert took place in Tula. Having failed to find recognition or even serious attention for himself as a guitarist, he goes on a tour of Europe. In many countries of the world N.P. Makarov gained fame as an excellent guitar virtuoso, a brilliant interpreter of the most complex guitar works. During his tours, the musician met with prominent foreign guitarists: Tsani de Ferranti, Matteo Carcassi, Napoleon Costa.
To revive the guitar's former glory, Makarov decides to organize an international competition in Europe. In Brussels he organizes a competition for guitar composers and luthiers. Before the competition, the guitarist gives a concert at which he performs his own compositions and works of other authors. Makarov played a ten-string guitar.
Thanks to this competition, the musician was able to significantly intensify the work in the field of guitar music by a number of Western European composers and guitar makers, and contribute to the creation of new constructive varieties of the instrument.
Makarov is the author of a number of essays and literary memoirs. He published his books and his own musical plays, such as “The Carnival of Venice,” mazurkas, romances, Concerto for Guitar, and arrangements of folk songs. However, the music he created is inexpressive and has not received wide distribution. In 1874, his “several rules of supreme guitar playing” were published. The brochure contained valuable advice on improving guitar technique: playing trills, harmonics, chromatic scales, using the little finger in playing, etc.
Another Russian guitarist, Mark Danilovich Sokolovsky (1812 - 1883), did not strive to amaze the audience with complex technical techniques. Listeners were captivated by his exceptional musicality.
As a child, Sokolovsky played the violin and cello, then began to play the guitar. Having mastered the instrument sufficiently, in 1841 he began active concert activity. His concerts took place in Zhitomir, Kyiv, Vilna, Moscow, St. Petersburg. In 1857, the guitarist was given the opportunity to perform in Moscow in the thousand-seat Hall of the Noble Assembly. In 1860, he was called “the favorite of the Moscow public.” From 1864 to 1868 the musician tours European cities. He gives concerts in London, Paris, Berlin and other cities. Everywhere he is accompanied by enormous success. The musician's triumphant tours brought him fame as one of the greatest guitarists. It is noteworthy that in many of Sokolovsky’s performances his accompanist was the outstanding Russian pianist N.G. Rubinstein.
Among the qualities that distinguished Sokolovsky's performing style, first of all, it is necessary to highlight the subtlety of nuance, the variety of timbre palette, high virtuoso skill and the warmth of the cantilena. These qualities were especially evident in his interpretation of three concertos by M. Giuliani, as well as in the performance of transcriptions of piano pieces by F. Chopin and his own miniatures, which were in many ways close to Chopin’s style - preludes, polonaises, variations, etc. The last public concert of M.D. Sokolovsky took place in St. Petersburg in 1877, and then the musician settled in Vilnius, where he was engaged in teaching activities.
Concert performances of domestic guitarists N.P. Makarov and M.D. Sokolovsky became an important means of musical education for numerous fans of this instrument in Russia.
Seven-string guitar in the 18th – 19th centuries
In home life, people usually accompanied the guitar by ear - such accompaniment from the simplest harmonic functions was elementary and, with this setting, was extremely accessible. The authors of songs and romances were most often little-known amateur musicians, but sometimes prominent composers XIX century - A. Varlamov, A. Gurilev, A. Alyabyev, A. Dyubyuk, A. Bulakhov and others.
The seven-string guitar also played a major role in the music-making of the gypsies. The leaders of gypsy choirs were excellent guitarists - I. Sokolov, I. Vasiliev, M. Shishkin, R. Kalabin.
A special place in the history of Russian guitar belongs to Ignatius Geld (1766 – 1816), the author of the first “School” for the Russian seven-string guitar. A Czech by nationality, he lived almost his entire creative life in Russia and managed to do a lot to popularize the seven-string guitar as a serious academic instrument.
From the end of the 18th century, the seven-string guitar began to develop as an academic instrument. Major works for guitar appear. Thus, in 1799 the Sonata of I. Kamensky was published, at the beginning of the 19th century - the Sonata for two guitars by V. Lvov. In the first half of the 19th century, guitar literature was produced in such quantities that its number exceeded literature for other musical instruments, even for the piano. Various guitar pieces were published, included in instructional and methodological manuals or published in separate publications. These are, for example, numerous miniatures, mainly in dance genres - mazurkas, waltzes, ecosaises, polonaises, serenades, divertissements, created by the famous guitarist-teacher and methodologist Ignatius Held.
Some famous Russian composers of the second half of the 18th – early 19th centuries were fond of playing the seven-string guitar. Among them are Ivan Evstafievich Khandoshkin (1747 - 1804), who composed a number of variations on the themes of Russian folk songs for the instrument, and Gavriil Andreevich Rachinsky (1777 - 1843), who published ten pieces for the seven-string guitar in 1817. These include five polonaises and two cycles of variations on themes of Russian folk songs. At the same time, works by now forgotten composers - Gornostaev - were published for the instrument. Konovkina, Maslova.
The true flowering of professional performance on the seven-string guitar occurred during the years of creative activity of the outstanding teacher-guitarist Andrei Osipovich Sihra (1773 - 1850). Trained as a harpist, he devoted his entire life to promoting the guitar. Dedicated exclusively to music, Andrei Osipovich already in his early youth became famous both as a virtuoso performer and as a composer. Sihra composed not only for harp and guitar, but also for piano.
At the end of the 18th century, Sihra moved to Mostka and became an energetic and active promoter of his musical instrument. His guitar immediately finds many fans among the Moscow public. Here, in Moscow, his “early” Moscow school was formed: he taught many students, studied himself, improved his instrument, created a variety of teaching materials, laid the foundation for a repertoire for the seven-string guitar, and performed with students in concerts. Many of his students subsequently became outstanding guitarists and composers themselves, continuing the work begun by their great teacher. Followers of A.O. Sikhry – S.N. Aksenov, V.I. Morkov, V.S. Sarenko, F.M. Zimmerman - created many plays and arrangements of Russian folk songs.
From 1800 until the end of his life, A.O. Sihra published many pieces for this instrument, including transcriptions of popular arias, dance music, and the most complex fantasies of a concert plan. Sihra's creativity developed in all aspects. He created pieces for solo guitar, for duet guitars, for violin and guitar, including fantasies on themes of famous and fashionable composers, fantasies on themes of Russian folk songs, original works, including mazurkas, waltzes, ecosaises, quadrilles, exercises. Sihra performed transcriptions and arrangements of works by M.I. Glinka, V.A. Mozart, G. Donizetti, C. Weber, D. Rossini, D. Verdi.
A.O. Sihra was the first to establish the seven-string guitar as a solo academic instrument, having done a lot for aesthetic education a wide range of amateur guitarists.
In 1802, the “Magazine for the seven-string guitar by A.O.” began to be published in St. Petersburg. Sikhry", which published arrangements of Russian folk songs and transcriptions of musical classics. In subsequent years, until 1838, the musician published a number of similar magazines, contributing to a significant increase in the popularity of the instrument.
In addition to a huge number of works for seven-string guitar, Sihra left “School”, which he wrote at the insistence of his student V.I. Morkova. It was published in 1840.
The main figure of the Sihra school is Semyon Nikolaevich Aksenov (1784 – 1853). At one time, no one surpassed him in mastery of the instrument or composition. In Moscow, the musician was considered the best virtuoso guitarist. Aksenov’s playing was distinguished by its extraordinary melodiousness, warmth of tone and, at the same time, great virtuosity. Possessing an inquisitive mind, he looked for new techniques on the instrument. Thus, he developed a system of artificial harmonics. The musician had an amazing gift of onomatopoeia on the instrument. Aksenov depicted the singing of birds, the sound of a drum, the ringing of bells, an approaching and retreating choir, etc. With these sound effects he amazed his listeners. Unfortunately, Aksenov’s plays of this kind have not reached us.
The educational activities of S.N. also seem significant. Aksenova. Beginning in 1810, he published “A New Magazine for the Seven-String Guitar, Dedicated to Music Lovers,” which contained many transcriptions of popular opera arias and variations on themes of Russian folk songs. Aksenov also created romances for voice accompanied by guitar.
Aksenov trained the brilliantly gifted guitarist Mikhail Vysotsky, who soon brought fame to the Moscow school of Russian guitarists.
The creative activity of Mikhail Timofeevich Vysotsky (1791 – 1837) played a big role in the development of professional academic Russian guitar performance.
The musician’s playing could be heard not only in secular salons and merchant meetings. The guitarist also played for the general public from his apartment window, especially in recent years, when he was in great need. These concerts contributed to the spread of the seven-string guitar among the bourgeois class and craftsmen.
The musician had an amazing gift of improvisation. Vysotsky could improvise for hours with an endless wealth of chords and modulations.
The guitarist also composed dance music that was fashionable in his time - mazurkas, polonaises, waltzes, eco-saises. All these plays are very elegant and musical. Vysotsky performed transcriptions of works by V.A. Mozart, L. Beethoven, D. Field. The musician published his works in small editions and without reprinting, and therefore the collections sold out instantly and almost immediately became a bibliographic rarity. Only some of Vysostky's handwritten works have survived, as well as 84 plays published in Gutheil's edition.
The first self-instructions for playing the seven-string guitar in Russia appeared at the end of the 18th century. In St. Petersburg in 1798, I. Geld’s “Self-instruction manual for the seven-string guitar” was published, which was reprinted many times and supplemented with new material. The third edition was expanded to include 40 arrangements of Russian and Ukrainian folk songs. In 1808, a “school for the seven-string guitar” by D.F. Kushenov-Dmitrievsky was published in St. Petersburg. This collection was later reprinted several times. In 1850, “Theoretical and Practical School for the Seven-String Guitar” by A.O. Sihra was published in three parts. The first part was called “On the Rules of Music in General”, the second contained technical exercises, scales and arpeggios, the third part contained musical material, mainly consisting of works by Sihra’s students. Another important instructional and pedagogical manual was “Practical rules consisting of four exercises” by A.O. Sihras. This is a kind of higher school for improving the technical skills of a guitarist.
In 1819, S.N. Aksenov made significant additions to the next re-edition of I. Geld’s “School”. A chapter on natural and artificial harmonics was added, and many new plays, etudes and arrangements of folk songs, including his own compositions, were introduced. Various manuals for learning the seven-string guitar were published by V.I. Morkov, M.T. Vysotsky and other guitarists of the first half of the 19th century.
In Russia, the seven-string guitar existed in parallel - both as an academic and as a folk instrument. In the first decades of the 19th century, the seven-string guitar, being an exponent of the traditional layer of home music-making, spread mainly among workers, artisans, apprentices, and various types of service people - coachmen, footmen. The instrument becomes an instrument of education and introduction to musical culture for the general public.
Since the 1840s, the art of guitar, like the art of psaltery, began to decline. But if the harp began to disappear from everyday music playing, then the guitar, remaining an equally unchanged accompanying instrument in the field of urban song, romance and gypsy singing, gradually lost its social qualities of the people due to the decline in the professional level of guitarists. In the second half of the century there were no longer such outstanding performers and teachers as A.O. Sihra, S.N. Aksenov and M.T. Vysotsky. Intensive teaching aids have almost ceased to be printed, and the published self-instruction manuals were mostly designed for the unpretentious needs of lovers of everyday music playing and contained only samples of popular romances, songs, dances, most often of low artistic quality.
The formation of performance on the Russian domra
Although the name “domra” itself became famous only in the 16th century, the first information about plucked fingerboard (tanbur-shaped) instruments in Rus' has reached us since the 10th century. The tanbur, among the Russian folk instruments, was described by the 10th century Arab traveler Ibn Dasta, who visited Kyiv between 903 and 912.
The first mention of domras that has reached us dates back to 1530. The “Teachings of Metropolitan Daniel” speaks of playing the domra, along with the playing of the harp and smyk (horns) by church ministers. By the beginning of the 17th century, even the harp, so beloved by the people, “largely gave way to domras” in popularity. In Moscow in the 17th century there was a “domra row” where domras were sold. Consequently, the need for these tools was so great that it was necessary to organize a number of shops to sell them. Information that domras were produced in large quantities, and not only in Moscow, can be convincingly confirmed by customs books, in which collections on the local markets of the Russian state were recorded daily.
Domra in Rus' found itself in the midst of people's life. It has become a publicly accessible, democratic instrument. The lightness and small size of the instrument, its sonority (the domra was always played with a plectrum), the rich artistic technical capabilities - all this was to the liking of the buffoons. In those days, the Domra sounded everywhere: in peasant and royal yards, in hours of fun and moments of sadness. “I’m glad to scoff at my domra,” says an old Russian proverb.
Buffoons were often instigators and participants in popular unrest. That is why first the clergy, and then the rulers of the state, were so up in arms against their art.
For almost 100 years (from 1470 to 1550), eight royal decrees prohibited playing musical instruments. The persecution of buffoons and their music became especially intensified in the 15th - 17th centuries - during periods of organized protests by peasants against the tsarist government and landowners (peasant wars led by Ivan Bolotnikov and Stepan Razin).
In 1648, a charter from Tsar Alexei Mikhailovich was issued, in which measures to excommunicate the people from musical instruments were legalized: “And where domras and surnas, and whistles, and harps, and holy buzzing vessels appear, and you would order those demonic ones to be summoned and, Having hacked those demonic games, he ordered them to be burned.”
In the summer and autumn of 1654, on the orders of Patriarch Nikon, a mass confiscation of musical instruments was carried out from the “rabble”. They were being destroyed everywhere. Gusli, horns, domras, pipes, tambourines were taken across the Moscow River and burned.
Connections with royal decrees banning playing folk instruments, in mid-17th century century, the production of domras by specialist craftsmen ceased. Severe punishment followed for the manufacture and even storage of tools. With the eradication of the art of buffoons, the professional performance of domrache musicians also disappears.
However, thanks to the art of buffoons. Domra has gained wide popularity among the people. It penetrated into the most remote and remote villages.
In the manuscripts of the 16th - 17th centuries there are numerous illustrations with images of folk instruments, in particular, domras and their performers - domracheev. These illustrations indicate that in those days the domra was one of the most common musical instruments in Rus'.
Old Russian domra in the XVI – XVII centuries existed in two versions: it could have a shape extremely close to the modern domra, and the other was a type of lute - multi-string instrument with a large body, a rather short neck and a bent back head.
Historical documents of that time indicate joint performance on domra, as well as the coexistence of varieties of domra: small, medium and large domra. They played the domra with a sliver or feather.
The 16th century is the period of the widest distribution of the ancient Russian skomoroshey domra. Popular prints dating back to the early 18th century often depicted two buffoons, Thomas and Erema. In the hands of one of them you can see a plucked string instrument. It has a small oval body and a narrow neck. Researcher of Russian popular print, prominent art historian D.A. Rovinsky, as an explanation for the drawings, cites a whole poetic story about Thomas and Erem. It says: “Erema has a harp, and Thomas has a domra.”
Domra was often played in the open air and, moreover, sometimes in an ensemble with louder instruments.
When comparing all the images of the Old Russian domra and similar instruments of other peoples, it is important to pay attention to an extremely interesting feature: all instruments are kobzas (the instrument was widespread in Ukraine in the 16th - 17th centuries, had a large oval or semicircular body and a neck with 5 - 6 strings stretched on it strings, with a head bent back - that is, a lute-shaped type, or an instrument with a small body and 3 - 4 strings), oriental domras and others - are presented exclusively as solo ones. Other instruments are not depicted with them anywhere. Nevertheless, images of the ancient Russian domra of the 16th – 17th centuries speak of its use in joint play with other instruments. The ancient domra was an instrument intended primarily for collective music playing and existed in various tessitura varieties. For example, the miniatures that have reached us depict domras of different sizes. A domra with a small body corresponds to the size of modern small domras. In ancient drawings there is an image of a domra with an even smaller body: it is possible that this is a “domrishko” - an instrument with a very high tessitura.
In the second half of the 18th century, domra gradually disappeared from people's memory.
Balalaika in the 18th – 19th centuries
With the disappearance of the name “domra” in the last third of the 17th century – in 1688 – the first mentions of balalaikas appeared. The people needed a plucked string instrument, similar to a domra, easy to make and with a ringing, rhythmically clear sound. Exactly so, made in a homemade artisanal way, and fiddling around new option domra - balalaika.
The balalaika appeared in the second half of the 17th century as a folklore version of the domra. Already in the 18th century, it gained extraordinary popularity, becoming, according to the historian Ya. Shtelin, “the most widespread instrument throughout the Russian country.” This was facilitated by a number of circumstances - the loss of the leading importance of previously existing instruments (harp, domra, whistle), the availability and ease of learning the balalaika, and the simplicity of its manufacture.
Folk balalaikas in various provinces of Russia differed in their shape. In the 18th and early 19th centuries, balalaikas with a round (truncated at the bottom) and oval body, which were made from pumpkin, were popular. Along with them, in the 18th century, instruments with a triangular body began to appear more and more often. Their images are shown in various popular prints. There were instruments with a quadrangular and trapezoidal body, with a number of strings from 2 to 5 (copper or intestinal). The materials for making instruments were various types of wood, and in the southern regions, pumpkin. The types of balalaikas differed in their tuning. There were three-string balalaikas of fourth, fifth, mixed fourth-fifth and third tunings. 4–5 movable frets were tied onto the neck.
The primitive balalaikas that were in use among the people were made handicraft; they had a diatonic scale and very limited capabilities.
The dimensions of the balalaikas were often such that they had to be held on a sling: width 0 1 foot, the so-called. about 30.5 cm, length - 1.5 feet (46 cm), and the neck exceeded "the length of the body at least 4 times", i.e. reached 1.5 meters. The balalaika was played by plucking individual strings, clanking, and also with the help of a plectrum - a typical way of playing in the 18th century.
During the second half of the 18th century, the instrument spread both among amateurs and among professional musicians. Along with its widespread use among the people, the balalaika was already found in “famous” houses during this period and even participated in the musical arrangement of festive court ceremonies. The repertoire of city balalaika players at that time included not only folk songs and dances, but also works of so-called secular music: arias, minuets, Polish dances, as well as “works from andante, allegro and presto.”
The emergence of professional urban balalaika players dates back to this time. The first of them should be named the brilliant violinist Ivan Evstafievich Khandoshkin (1747 - 1804). The possibility of this musician composing pieces for the balalaika is not excluded. Khandoshkin was an unrivaled performer of Russian folk songs on both the violin and balalaika; he retained for a long time the reputation of the first virtuoso balalaika player. It is known that it was Khandoshkin who brought such high-ranking nobles as Potemkin and Naryshkin into a “musical frenzy” with his instrument. At first, Khandoshkin played a folk-style balalaika, made from a gourd and glued on the inside with broken crystal, which gave the instrument a special sonority, and later he played an instrument made by the remarkable violin maker Ivan Batov. It is quite possible that Batov’s balalaika could have had not only an improved body, but also with mortise frets. In the instrumental work of A.S. Famintsyn “Domra and related musical instruments”, a painting “Folk performer with a triangular balalaika of the early 19th century” was published, in which the musician plays an improved balalaika with seven mortise frets.
Among the famous professional balalaika players one can name the court violinist of Catherine II I.F. Yablochkin, a student of Khandoshkin not only in the violin, but also in the balalaika. Undoubtedly, the outstanding balalaika player who composed pieces for this instrument was the Moscow violinist, composer and conductor Vladimir Ilyich Radivilov (1805 - 1863). Contemporaries testify that Radivilov improved the balalaika, making it four-stringed, and in “playing it he achieved such perfection that he surprised the audience. All the overtures were his own compositions.”
The turn of the 18th – 19th centuries is the heyday of the art of playing the balalaika.
Documents from this period contain information confirming the existence of professional performers among balalaika players, most of whom remained nameless.
We have received information about the outstanding balalaika player M.G. Khrunov, who played a balalaika of a “special design.” Contemporaries give an excellent assessment of the musician's playing, despite the disdainful attitude towards this common instrument.
Printed publications mention the names of several more balalaika players who were masters of this instrument. This is P.A. Bayer and A.S. Paskin is a landowner from the Tver province, as well as an extraordinary performer, an Oryol landowner with an encrypted surname (P.A. Lakiy), who played the “balalaika with inimitable technique, especially flaunting his harmonics. These musicians played instruments made by the best craftsmen.
The balalaikas that existed in the city differed from the common ones; the performance itself was different. V.V. Andreev wrote that in the city he came across seven-fret instruments, and that A.S. Paskin literally stunned him with his professional playing, replete with original technical techniques and discoveries.
In villages, at parties, the balalaika player’s performance was paid for by pooling. Many landowner estates kept a balalaika player who played for home entertainment.
At the beginning of the 19th century, a composition for the balalaika appeared - variations on the theme of the Russian folk song “Elnik, my spruce forest.” This work was written by a great lover of the balalaika, the famous opera singer of the Mariinsky Theater N.V. Lavrov (real name Chirkin). The variations were published in French and dedicated to the then famous composer A.A. Alyabyev. The title page indicates that the work was written for a three-string balalaika. This indicates the widespread popularity of the three-stringed instrument during that period.
Historical documents confirm the fact that the balalaika acted as an ensemble instrument in a variety of combinations with folk musical instruments - in duets with a whistle, bagpipes, accordion, horn; in a trio - with a drum and spoons; in small orchestras consisting of violins, guitars and tambourines; in ensembles with flutes and violins. The use of the balalaika in opera performances is also known. Thus, in M.M. Sokolovsky’s opera “The Miller, the Sorcerer, the Deceiver and the Matchmaker,” the Miller’s aria from the third act “The Old Man and the Old Woman Walked” was performed to the accompaniment of a balalaika.
The popularity of the balalaika among the broad masses is reflected both in folk songs and in fiction. The instrument is mentioned in the works of A.S. Pushkin, M.Yu. Lermontov, F.I. Dostoevsky, L.N. Tolstoy, A.P. Chekhov, I. Turgeneva, N.V. Gogol and others.
TO mid-19th century, the popularity of the balalaika as a mass instrument began to fade. In its primitive form, the balalaika could no longer fully meet the new aesthetic demands. First, the seven-string guitar, and then the harmonica, replaced the balalaika from folk home music playing. The process of gradual disappearance of the balalaika in folk musical life begins. From being ubiquitous, the instrument increasingly became a subject of musical archaeology.
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Ministry of Culture of Ukraine
Kharkov State Academy of Culture
for admission to study for the Master's degree
Guitar art as a historical phenomenon of musical culture
Pihulya Taras Olegovich
Kharkov 2015
Plan
Introduction
1. Prerequisites for the formation and development of playing the classical guitar
1.1 History of the emergence, development and improvement of guitar performance
1.2 The formation of guitar art in the USSR and Russia
2. History of the emergence and evolution of the pop-jazz movement in art
2.1 Types of guitars used in pop and jazz art
2.2 Main directions of pop-jazz performance of the 60-70s
Bibliography
INconducting
Musical art of the 20th century. developed rapidly and rapidly. The main characteristic features of this development were assimilation various styles and directions, the crystallization of a new musical language, new principles of composition, form-building, the formation of various aesthetic platforms. This process involves not only composers, performers, and art critics, but also millions of listeners for whom musical works are created.
The relevance of the topic is due to the consideration of classical and pop-jazz instrumental music from the point of view of the evolutionary development of guitar art, that is, the formation of new genres and directions.
The purpose of the study is to consider classical and pop-jazz instrumental music and their influence on the formation of new styles, performing skills and guitar culture as a whole.
Research objectives:
1) Consider the history of the emergence, development and formation of guitar culture in Europe, Russia, and the USSR.
2) Consider the origins, origin and formation of new styles in pop and jazz art.
The object of the study is the formation of classical and pop-jazz instrumental music.
The methodological basis of the work is the method of intonation analysis, focused on the unity of musical and speech principles, as the basis of European, African and Russian artistic traditions.
The scientific novelty of the work lies in the fact that the work explores the formation and evolution of guitar art and its influence on the formation of guitar culture.
The practical value of the work lies in the possibility of using its materials in the process of studying historical and theoretical musical disciplines.
1. PrerequisitesformationAnddevelopmentgamesonclassicalguitar
1.1 History of the emergence, development and improvement of guitar performance
The history of the origin, development and improvement of this musical instrument is so amazing and mysterious that it rather resembles an exciting detective story. The first information about the guitar dates back to ancient times. On Egyptian monuments dating back thousands of years, there are images of a musical instrument - “nabla”, which in appearance resembles a guitar. The guitar was also widespread in Asia, which is confirmed by images on architectural monuments of Assyria, Babylon and Phenicia. In the 13th century, the Arabs brought it to Spain, where it soon received full recognition. At the end of the 15th century, wealthy families in Spain began to compete with each other in the patronage of science and art. The guitar, along with the lute and other plucked instruments, became a favorite instrument at court. IN cultural life In Spain, starting from the 16th century, numerous associations, academies, circles and meetings - “salons”, which were held regularly, played a major role. Since that time, the passion for plucked instruments has penetrated the broad masses, and special musical literature has been created for them. The names of the composers who represented it form a long line: Milan, Corbetto, Fuenllana, Marin i Garcia, Sanz and many others.
Having come a long way in development, the guitar has taken on a modern appearance. Until the 18th century, it was smaller in size, and its body was rather narrow and elongated. Initially, the instrument had five strings tuned to fourths, like a lute. Later, the guitar became a six-string guitar, with a tuning more suitable for playing in open positions to better exploit the sound of the open strings. Thus, by the middle of the 19th century, the guitar had acquired its final form. Six strings appeared on it in tuning: E, B, G, D, A, E.
The guitar gained great popularity in Europe and was brought to the countries of North and South America. How can we explain such a widespread use of the guitar? Mainly because it has great capabilities: it can be played solo, accompanied by voice, violin, cello, flute, it can be found in various orchestras and ensembles. Small dimensions and the ability to easily move in space and, most importantly, an unusually melodious, deep and at the same time transparent sound - justify the love for this universal musical instrument among a wide range of admirers from romantic tourists to professional musicians.
At the end of the 18th century, composers and virtuosos appeared in Spain
F. Sor and D. Aguado, at the same time in Italy - M. Giuliani. L. Leniani, F. Carulli, M. Carcassi and others. They create an extensive concert repertoire for the guitar, ranging from small pieces to sonatas and concertos with orchestra, as well as wonderful “Schools of playing the guitar” six string guitar", an extensive educational and constructive repertoire. Although almost two hundred years have passed since the first publication of this pedagogical literature, it is still a valuable heritage for both teachers and students.
The composer Sor gives concerts with great success in the cities of Western Europe and Russia. His ballets “Cinderella”, “Lubochnik as a Painter”, “Hercules and Omphale”, as well as the opera “Telemachus” have had many performances on the stages of St. Petersburg, Moscow and major cities in Western Europe. Polyphonic style, rich imagination and depth of content characterize Sora's work. He is an educated musician-composer, a virtuoso guitarist, who amazed with the depth of his performance and the brilliance of his technique. His compositions have become firmly established in the repertoire of guitarists. The Italian Giuliani is one of the founders of the Italian guitar school. He was a brilliant guitarist and also played the violin perfectly. When Beethoven's seventh symphony was first performed in Vienna in 1813 under the baton of the author, Giuliani took part in its performance as a violinist. Beethoven held Giuliani in high esteem as a composer and musician. His sonatas and concertos with orchestra are performed by modern guitarists, and his pedagogical literature is a valuable heritage for both teachers and students.
I would especially like to dwell on the most famous and most frequently published in our country, “The School of Playing the Six-String Guitar” by the famous Italian guitarist-teacher, composer M. Carcassi. In the preface to “School,” the author says: “... I had no intention of writing scientific work. I only wanted to make learning the guitar easier by laying out a plan that could make it possible to become more familiar with all the features of this instrument." From these words, it is clear that M. Carcassi did not set himself the task of creating a universal manual for learning to play the guitar, and this is hardly possible at all. The “School” gives a number of valuable instructions on the technique of the left and right hands, various characteristic techniques of playing the guitar, playing different positions and tonalities. Musical examples and pieces are given sequentially, in order of increasing difficulty, they were written with great skill as a composer and teacher and are still of great value as educational material.
Although, from a modern point of view, this “School” has a number of serious shortcomings. For example, little attention has been paid to such an important technique of playing the right hand as apoyando (playing with support); the musical language, based on the music of the Western European tradition of the 18th century, is somewhat monotonous; issues of the development of fingering, melodic-harmonic thinking are practically not touched upon, we are only talking about the correct placement of the fingers of the left and right hands, which makes it possible to resolve many technical difficulties in performance, improve sound, phrasing, etc.
In the second half of the 19th century, a new bright name of the Spanish composer, virtuoso soloist and teacher Francisco Tárrega appeared in the history of the guitar. He creates his own writing style. In his hands, the guitar turns into a small orchestra.
The performing work of this wonderful musician influenced the work of his friends - composers: Albeniz, Granados, de Falla and others. In their piano works one can often hear imitation of the guitar. Poor health did not give Tarrega the opportunity to give concerts, so he devoted himself to teaching. We can safely say that Tarrega created his own school of guitar playing. His best students include Miguel Llobet, Emelio Pujol, Dominico Prat, Daniel Fortea, Illarion Lelupe and other famous concert performers. To date, the “Schools” of E. Pujol, D. Fortea, D. Prat, I. Lelupa, I. Arens and P. Rocha, based on the Tárrega teaching method, have been published. Let's take a closer look at this method using the example of the “School of Playing the Six-String Guitar” by the famous Spanish guitarist, teacher and musicologist E. Pujol. A distinctive feature of the “School” is its generous, detailed presentation of all the main “secrets” of playing the classical guitar. The most essential issues of guitar technique have been carefully developed: the position of the hands, the instrument, methods of sound production, playing techniques, etc. The sequence of arrangement of the material contributes to the systematic technical and artistic preparation of the guitarist. “School” is entirely built on original musical material: almost all etudes and exercises were composed by the author (taking into account the methodology of F. Tárrega) specifically for the corresponding sections.
What is especially valuable is that this educational publication not only sets out in detail the difficulties of playing the guitar, but also describes in detail how to overcome them. In particular, a lot of attention is paid to the problem of using the correct fingering when playing with the right and left hands, and the techniques of playing in different positions, various movements, shifts of the left hand are also discussed in detail, which certainly contributes to the development of fingering thinking. The effectiveness of Pujol’s “School” has been confirmed, in particular, by the practice of its use in a number of educational institutions in our country, Europe and America.
The creative activity of the greatest Spanish guitarist of the 20th century was of great importance for the development of world guitar art. Andrese Segovia. The exceptional importance of his role in the history of the development of the instrument was not only his performing and pedagogical talents, but also his abilities as an organizer and propagandist. Researcher M. Weisbord writes: “...to establish the guitar as a concert instrument, it lacked what, for example, the piano or violin possessed - a highly artistic repertoire. The historical merit of Andres Segovia consists, first of all, in the creation of such a repertoire...” And further: “M. Ponce (Mexico), M.K. began to write for Segovia. Tedesco (Italy), J. Ibert, A. Roussel (France), C. Pedrel (Argentina), A. Tansman (Poland), and D. Duart (England), R. Smith (Sweden) ... ". From this small and far from complete list of composers, it is clear that it was thanks to A. Segovia that the geography of professional compositions for classical guitar rapidly expanded, and over time, this instrument attracted the attention of many outstanding artists - E. Villa Lobos, B. Britten. On the other hand, entire constellations of talented composers are emerging who are also professional performers - A. Barrios, L. Brouwer, R. Diens, N. Koshkin, etc.
1. 2 BecomingguitarartVUSSRAndRussia
Today he has toured very successfully in many countries of the world, including visiting the USSR four times (1926 and 1935, 1936). He performed works by classic guitarists: Sor, Giuliani, transcriptions of works by Tchaikovsky, Schubert, Haydn and original works by Spanish composers: Turin, Torroba, Tansman, Castelnuovo-Tedesco and other composers. Segovia had many meetings with Soviet guitarists, whose questions he readily answered. In conversations about guitar playing technique, Segovia pointed out the particular importance of not only hand positioning, but also the correct use of fingerings. The guitar has left a bright mark on the musical art of Russia. Academician J. Shtelin, who lived in Moscow from 1735 to 1785, wrote that the guitar in Russia spread slowly, but with the appearance of other touring guitar virtuosos Tsani de Ferranti, F. Sora, M. Giuliani and others this instrument is gaining popularity and becoming widespread.
Having acquired in Russia in the second half of the 18th century a unique seven-string variety with tuning to the sounds of a G major triad doubled in an octave and a lower string spaced a fourth, the guitar turned out to be optimally suited to the bass-chord accompaniment of urban songs and romances.
The real flourishing of professional performance on this instrument begins thanks to the creative work of the outstanding teacher-guitarist Andrei Osipovich Sihra (1773-1850). Being a harpist by training, he devoted his entire life to the promotion of the seven-string guitar - in his youth he was engaged in concert activities, and then in pedagogy and education. In 1802, the “Magazine for the seven-string guitar of A. Sihra” began to be published in St. Petersburg with arrangements of Russian folk songs and arrangements of musical classics. In subsequent decades, until 1838, the musician published a number of similar magazines, which contributed to a significant increase in the popularity of the instrument, A.O. Sihra trained a huge number of students, stimulating their interest in composing music for the guitar, in particular variations on themes of folk song melodies. The most famous of his students are S.N. Aksenov, V.I. Morkov, V.S. Sarenko, F.M. Zimmerman and others left many plays and arrangements of Russian songs. The activities of Mikhail Timofeevich Vysotsky (1791-1837) were of great importance in the development of professional and academic Russian guitar performance. The first person who introduced him to the guitar was S.N. Aksenov, who also became his mentor.
Since about 1813, the name M.T. Vysotsky became widely popular. His playing was distinguished by an original improvisational style, a bold flight of creative imagination in varying folk song melodies. M.T. Vysotsky is a representative of the improvisational aural style of performance - in this he is close to traditional Russian folk music-making. Much can be said about other representatives of Russian guitar performance who contributed to the development of the national performing school, but this is a separate conversation. The authentic Russian school was distinguished by the following features: clarity of articulation, beautiful musical tone, focus on the melodic capabilities of the instrument and the creation of a specific repertoire, unique in many ways, a progressive method of using special fingering “blanks”, samples and cadences that reveal the capabilities of the instrument.
The system of playing the instrument included playing musical functions, intonations and their inversions, which were learned separately in each key and had an unpredictable movement of the voices. Often, individual such fingering, melodic-harmonic “blanks” were jealously guarded and passed on only to the best students. Improvisation was not specially studied; it was a consequence of the general technical base, and a good guitarist was able to combine the familiar intonations of a song with a harmonic sequence. A set of different cadences often surrounded a musical phrase and gave a unique coloring to the musical fabric. Such an inventive teaching method seems to have been a purely Russian discovery and was not found anywhere in foreign works of that time. Unfortunately, the traditions of Russian guitar performance of the 18th-19th centuries. were unfairly forgotten, and only thanks to the efforts of enthusiasts, the state of affairs in this direction is changing for the better.
Guitar art developed in Soviet time, although the attitude of the authorities towards the development of this musical instrument was, to put it mildly, cool. It is difficult to overestimate the role of the outstanding teacher, performer and composer A.M. Ivanov-Kramsky. His playing school, like the playing school of guitarist and teacher P.A. Agafoshina is an indispensable teaching aid for young guitarists. This activity is brilliantly continued by their numerous students and followers: E. Larichev, N. Komolyatov, A. Frauchi, V. Kozlov, N. Koshkin, A. Vinitsky (classical guitar in jazz), S. Rudnev (classical guitar in Russian style) and many others.
guitar classic pop jazz
2. StoryemergenceAndevolutionpop-jazzdirectionsVart
2.1 Types of guitars used in pop and jazz art
In modern pop music, four types of guitars are mainly used:
1. Flat Top - a regular folk guitar with metal strings.
2. Classical - classical guitar with nylon strings.
3. Arch Top - a jazz guitar, shaped like an enlarged violin with f-holes along the edges of the soundboard.
4. Electric guitar - a guitar with electromagnetic pickups and a monolithic wooden soundboard (block).
Just 120-130 years ago, only one type of guitar was popular in Europe and America. Different countries used different tuning systems, and in some places they even changed the number of strings (In Russia, for example, there were seven strings, not six). But the shape of all the guitars was very similar - relatively symmetrical upper and lower parts of the soundboard, which meets the neck at the 12th fret.
Small size, slotted palm, wide neck, fan-shaped mounting of springs, etc. - all this characterized this type of guitar. In fact, the instrument described above is similar in form and content to today's classical guitar. And the shape of today's classical guitar belongs to the Spanish master Torres, who lived about 120 years ago.
At the end of the last century, the guitar began to rapidly gain popularity. If before this guitars were played only in private homes and salons, then by the end of the last century the guitar began to appear on stages. There was a need to amplify the sound. It was then that a clearer division emerged between classical and what is now most often called folk guitar or western. Technology began to make it possible to make metal strings that sounded louder.
In addition, the body itself increased in size, which allowed the sound to be deeper and louder. There remained one serious problem - the strong tension of the metal strings actually killed the top deck, and the thickening of the shell walls ultimately killed the vibration, and with it the sound. And then the famous X-shaped spring fastening was invented. The springs were glued crosswise, thereby increasing the strength of the top deck, but allowing it to vibrate.
Thus, there was a clear division - the classical guitar, which has hardly changed since then (only the strings began to be made from synthetics, and not from sinew, as before), and the folk-western guitar, which had several forms, but almost always went with X-shaped spring mounting, metal strings, enlarged body and so on.
At the same time, another type of guitar developed - the “arch top”. What is it? While companies like Martin solved the problem of amplifying sound by attaching springs, companies like Gibson went the other way - they created guitars that resembled violins in shape and design. Such instruments were characterized by a curved top, a saddle that was similar to a double bass, and a tailpiece. Typically, these instruments had violin cutouts along the edges of the soundboard instead of the traditional round hole in the center. These guitars featured a sound that was not warm and deep, but balanced and punchy. With such a guitar, every note was clearly audible, and jazzmen quickly realized what a “dark horse” had appeared in their field of vision. It is to jazz that “arch tops” owe their popularity, for which they are called jazz guitars. In the 1930s and 1940s, this began to change, largely due to the advent of better microphones and pickups. In addition, a new popular style of music - the blues - entered the arena and immediately conquered the world. As you know, the blues developed mainly thanks to the efforts of poor black musicians. They played it in all sorts of ways with fingers, picks, and even beer bottles (beer bottle tops were the direct ancestors of modern slides). These people didn’t have money for expensive instruments, they didn’t always have the opportunity to buy new strings, what kind of jazz guitars are there? And they played whatever they had to, mainly the more common instruments - Westerns. In those years, in addition to expensive “archtops,” the Gibson company also produced a large range of “consumer” folk guitars. The market situation was such that Gibson was almost the only company producing cheap but high-quality folk guitars. It is logical that most bluesmen, lacking money for something more advanced, took Gibsons into their hands. So until now they have not parted with them.
What happened to jazz guitars? With the advent of pickups, it turned out that the balanced and clear sound of this type of instrument was perfectly suited to the amplification system of that time. Although the jazz guitar is absolutely nothing like the modern Fender or Ibanez, Leo Fender would probably never have created his Telecaster and Stratocaster. , if I hadn't experimented with jazz guitars and pickups first. By the way, later electric blues was also played and is played on jazz instruments with pickups, it’s just that the thickness of the body in them was reduced. A striking example of this is B.B. King and his famous Lussil guitar, which many today consider the standard electric guitar for blues.
The first known experiments with amplifying guitar sound using electricity date back to 1923, when engineer and inventor Lloyd Loar invented an electrostatic pickup that recorded the vibrations of the resonator box of stringed instruments.
In 1931, George Beauchamp and Adolph Rickenbacker came up with an electromagnetic pickup in which an electrical pulse ran through a magnet, creating an electromagnetic field that amplified the signal from a vibrating string. By the late 1930s, numerous experimenters began incorporating pickups into the more traditional-looking Spanish hollow-body guitars. Well, the most radical option was proposed by guitarist and engineer Les Paul - he simply made the guitar soundboard monolithic.
It was made of wood and was simply called “The Log”. Other engineers began experimenting with a solid or almost solid piece. Since the 40s of the 20th century, both individual enthusiasts and large companies have been successfully doing this.
The market for guitar manufacturers continues to actively develop, constantly expanding the model range. And if previously only Americans acted as “trendsetters”, now Yamaha, Ibanez and other Japanese companies firmly occupy leading positions, among the leaders in production, producing both their own models and excellent copies of famous guitars.
The guitar - and especially the electrified one - occupies a special place in rock music. However, almost all the best rock guitarists go beyond the stylistics of rock music, paying great tribute to jazz, and some musicians have completely broken with rock. This is not surprising, since the best traditions of guitar performance are concentrated in jazz.
A very important point is made by Joe Pass, who in his well-known jazz school writes: “Classical guitarists have had several centuries to develop an organic, consistent approach to performing - the “correct” method. The jazz guitar, the plectrum guitar, appeared only in our century, and the electric guitar is still such a new phenomenon that we are only beginning to understand its capabilities as a full-fledged musical instrument.” In such conditions special meaning acquires already accumulated experience, jazz traditions of guitar skills.
Already in the early form of blues, “archaic” or “rural”, often also called the English term “country blues”, the main elements of guitar technology were formed, which determined its further development. Certain techniques of blues guitarists later became the basis for the formation of subsequent styles.
The earliest recordings of country blues date back to the mid-20s, but there is every reason to assume that, in essence, it is almost no different from the original style that was formed among the blacks of the southern states (Texas, Louisiana, Alabama, etc. ) back in the 70-80s of the 19th century.
Among the outstanding singer-guitarists of this style is Blind Lemon Jefferson (1897-1930), who had a significant influence on many musicians of a later period, and not only blues ones. A brilliant master of guitar ragtime and blues was Blind Blake (1895 -1931), many of whose recordings still amaze today with their excellent technique and ingenuity of improvisations. Blake is rightly considered one of the initiators of the use of the guitar as a solo instrument. Huddie Leadbetter, commonly known as Leadbelly (1888-1949), was once called the “King of the Twelve-String Guitar.” He sometimes played in a duet with Jefferson, although he was inferior to him as a performer. Leadbelly introduced characteristic bass figures into the accompaniment - the “wandering bass”, which would later be widely used in jazz.
Standing out among country blues guitarists is Lonnie Johnson (1889-1970), a virtuoso musician very close to jazz. He recorded excellent blues without vocals, and often he played with a pick, demonstrating not only excellent technique, but also extraordinary improvisational skill.
One of the features of the Chicago period in the development of traditional jazz, which became transitional to swing, was the replacement of instruments: instead of the cornet, tuba and banjo, the trumpet, double bass and guitar came to the fore.
Among the reasons for this was the advent of microphones and the electromechanical method of sound recording: the guitar finally sounded fully on records. An important feature of Chicago jazz was the increased role of solo improvisation. It was here that a significant turn in the fate of the guitar took place: it became a full-fledged solo instrument.
This is due to the name Eddie Lang (real name - Salvador Massaro), who introduced many jazz techniques into guitar playing that are typical of other instruments - in particular, phrasing characteristic of wind instruments. Eddie Lang created that one too jazz style playing with a mediator, which later became predominant. He was the first to use a plectrum guitar - a special guitar for playing jazz, which differed from the usual Spanish one in the absence of a round rosette. Instead, f-holes similar to violin f-holes and a removable panel-shield that protects against pick blows appeared on the soundboard. Eddie Lang's playing in the ensemble was distinguished by strong sound production. He often used passing sounds, chromatic sequences; sometimes he changed the angle of the plectrum in relation to the neck, thereby achieving a specific sound.
Characteristic of Lang's style are chords with muted strings, hard accents, parallel non-chords, whole-tone scales, a kind of glissando, artificial harmonics, sequences of augmented chords and phrasing characteristic of wind instruments. It can be said that it was under the influence of Eddie Lang that many guitarists began to pay more attention to the bass notes in chords and, if possible, achieve better voicing. The invention of the electric guitar was the impetus for the emergence of new guitar schools and trends. They were founded by two jazz guitarists: Charlie Christian in America and Django Reinhardt
(Django Reinhardt) in Europe
In his book “From Rag to Rock,” the famous German critic I. Behrendt writes: “For the modern jazz musician, the history of the guitar begins with Charlie Christian. During the two years he spent on the jazz scene, he revolutionized guitar playing. Of course, there were guitarists before him, but it seems, however, that the guitar played before Christian and the one played after him are two different instruments.”
Charlie played with a virtuosity that seemed simply unattainable to his contemporaries. With his arrival, the guitar became an equal participant in jazz ensembles. He was the first to introduce the guitar solo as a third voice in an ensemble with trumpet and tenor saxophone, freeing the instrument from purely rhythmic functions in the orchestra. Before anyone else, C. Christian realized that the technique of playing an electric guitar was significantly different from that of playing an acoustic guitar. In harmony, he experimented with increased and decreased chords, and came up with new rhythmic patterns for the best jazz melodies (evergreens). In passages he often used add-ons to seventh chords, impressing listeners with his melodic and rhythmic ingenuity. He was the first to develop his improvisations, relying not on the harmony of the theme, but on passing chords, which he placed between the main ones. In the melodic sphere, it is characterized by the use of legato instead of hard staccato.
Ch. Christian's performances have always been distinguished by an extraordinary power of expressiveness combined with intense swing. Jazz theorists claim that with his playing he anticipated the emergence of the new jazz style bebop (be-bop) and was one of its creators.
At the same time as Christian, the equally outstanding jazz guitarist Django Reinhardt was shining in Paris. Charlie Christian, while still performing in clubs in Oklahoma, admired Django and often repeated note for note his solos recorded on records, although these musicians were sharply different from each other in the manner of playing. Many famous musicologists and jazz artists have spoken about Django's contribution to the development of the jazz style of guitar playing and his skill. According to D. Ellington, “Django is a super artist. Every note he plays is a treasure, every chord is evidence of his unshakable taste.”
Django differed from other guitarists in his expressive, rich sound and unique manner of playing, with long cadences after several bars, sudden rapid passages, stable and sharply accentuated rhythm. At moments of climax he often played in octaves.
This type of technique was borrowed from him by C. Christian, and twelve years later by W. Montgomery. In fast pieces, he was able to create such fire and pressure that had previously only been encountered in performances on wind instruments. In the slow ones he was inclined to prelude and rhapsody, close to the Negro blues. Django was not only an excellent virtuoso soloist, but also an excellent accompanist. He was ahead of many of his contemporaries in the use of minor seventh chords, diminished, augmented and other passing chords. Django paid great attention to the harmony of the harmonic schemes of the pieces, often emphasizing that if everything in the chord progressions is correct and logical, then the melody will flow by itself.
When accompanying, he often used chords that imitated the sound of a brass section. The contributions of Charlie Christian and Django Reinhardt to the history of jazz guitar are invaluable. These two outstanding musicians showed the inexhaustible capabilities of their instrument not only in accompaniment, but also in improvisational solos, and predetermined the main directions for the development of electric guitar playing techniques for many years to come.
The increased role of the guitar as a solo instrument has led to a craving for performers to play in small lineups (combos). Here the guitarist felt like a full member of the ensemble, performing the functions of both accompanist and soloist. The popularity of the guitar was expanding every day, more and more names of talented jazz guitarists appeared, but the number of big bands remained limited. In addition, many directors and arrangers of large orchestras did not always introduce the guitar into the rhythm section. It is enough to name, for example,
Duke Ellington, who did not like to combine the sound of guitar and piano in the accompaniment. However, sometimes the “mechanical” work that serves to maintain rhythm in a big band turns into genuine jazz art. We are talking about one of the leading representatives of the chord-rhythmic style of guitar playing, Freddie Green.
Virtuoso chord technique, a wonderful sense of swing, and a subtle musical taste distinguish his playing. He almost never played solo, but at the same time he was often compared to a tugboat, pulling the entire orchestra with him.
It is Freddie Green who, to a large extent, owes Count Basie's big band the unusual compactness of the rhythm section, the liberation and laconicism of the playing. This master had a huge influence on guitarists who prefer accompaniment and chord improvisation to long passages and single-voice improvisations. The work of Charlie Christian, Django and Freddie Green forms, as it were, three branches family tree jazz guitar. However, one more direction should be mentioned, which stood somewhat apart, but in our time is becoming increasingly recognized and widespread.
The fact is that not all guitarists found Charles Christian’s style acceptable, in whose hands the guitar acquired the sound of wind instruments (it is no coincidence that many, listening to Charlie Christian’s recordings, mistook the voice of his guitar for a saxophone). First of all, his style was impossible for those who played acoustic guitars with their fingers.
Many of the techniques developed by C. Christian (long legato, long improvisational lines without harmonic support, sustained notes, bends, rare use of open strings, etc.) were ineffective for them, especially when playing instruments with nylon strings. In addition, guitarists appeared who united in their in a creative manner classical, guitar playing, flamenco and elements of Latin American music with jazz. These primarily include two outstanding jazz musicians: Laurindo Almeida and Charlie Byrd, whose work influenced many guitarists classic style, demonstrating in practice the unlimited possibilities of an acoustic guitar. With good reason they can be considered the founders of the “classical guitar in jazz” style.
Black guitarist Wes John Leslie Montgomery is one of the brightest musicians to appear on the jazz scene after C. Christian. He was born in 1925 in Indianapolis; He became interested in guitar only at the age of 19 under the influence of Charlie Christian's records and the passion of his brothers Buddy and Monk, who played the piano and double bass in the orchestra of the famous vibraphonist Lionel Hampton. He managed to achieve an unusually warm, “velvety” sound (using his right thumb instead of a pick) and developed his octave technique so much that he performed entire improvisational choruses in octaves with amazing ease and clarity, often at fairly fast tempos. His skill so impressed his partners that they jokingly nicknamed Wes “Mr. Octave.” The first record with W. Montgomery's recording was released in 1959 and immediately brought success and wide recognition to the guitarist. Jazz lovers were shocked by the virtuosity of his playing, refined and restrained articulation, melodic improvisations, a constant sense of blues intonations and a bright sense of swing rhythm. Wes Montgomery's combination of a solo electric guitar with the sound of a large orchestra, including a string group, is very interesting.
Most subsequent jazz guitarists - including such famous musicians as Jim Hall, Joe Pass, John McLaughlin, George Benson, Larry Coryell - acknowledged the great influence of Wes Montgomery on their work. Already in the 40s, the standards developed by swing ceased to satisfy many musicians. Established cliches in the harmony of the song form, vocabulary that often boiled down to direct quotation from outstanding jazz masters, rhythmic monotony and the use of swing in commercial music became a brake on the further development of the genre. After the “golden period” of swing, the time comes to search for new, more advanced forms. More and more new directions are emerging, which, as a rule, are united by a common name - modern jazz (Modern Jazz). It includes bebop (“staccato jazz”), hard bop, progressive, cool, third movement, bossa nova and Afro-Cuban jazz, modal jazz, jazz rock, free jazz, fusion and some others: Such diversity, mutual influence and interpenetration different movements complicates the analysis of the work of individual musicians, especially since many of them at one time played in a variety of manners. So, for example, in C. Bird’s recordings you can find bossa nova, blues, jazz themes, arrangements of classics, country rock, and much more. B. Kessel's playing includes swing, bebop, bossa nova, elements of modal jazz, etc. It is characteristic that jazz guitarists themselves often react quite sharply to attempts to classify them as one or another jazz movement, considering this a primitive approach to assessing their work. Such statements can be found in Larry Coryell, Joe Pass, John McLaughlin and others.
2 .2 Basicdirectionspop-jazzperformance60-70 - Xyears
And yet, according to one of the jazz critics I. Behrendt, on the verge of the 60s and 70s in modern guitar performance Four main directions have emerged: 1) mainstream (main current); 2) jazz-rock; 3) blues direction; 4) rock. The most prominent representatives of the mainstream can be considered Jim Hall, Kenny Burrell and Joe Pass. Jim Hall, the “poet of jazz,” as he is often called, has been known and loved by the public from the late 50s to the present day.
Joe Pass (full name Joseph Anthony Jacobi Passalacqua) is called the “Virtuoso of Jazz Guitar.” Critics rank him alongside musicians such as Oscar Peterson, Ella Fitzgerald and Barney Kessel. His records of duets with Ella Fitzgerald and Herb Ellis, a trio with Oscar Peterson and bassist Nils Pederson, and especially his solo discs “Joe Pass the Virtuoso” are extremely successful. Joe Pass was one of the most interesting and versatile jazz guitarists, continuing the tradition of Jacgo Reinhardt, Charlie Christian and Wes Montgomery. His work was little influenced by new trends in modern jazz: he preferred bebop. Along with his concert activities, Joe Pass taught a lot and successfully, published methodological works, among which his school “Joe Pass Guitar Style” 2E occupies a special place
However, not all jazz guitarists are so devoted to the “mainstream”. Among the outstanding musicians who gravitate toward something new in the development of jazz, we should note George Benson, Carlos Santana, and Ola di Meola. Mexican musician Carlos Santana (born in 1947) plays in the “Latin rock” style, based on performing Latin American rhythms (samba, rumba, salsa, etc.) in a rock style, combined with flamenco elements.
George Benson was born in 1943 in Pittsburgh and already as a child sang the blues and played guitar and banjo. At the age of 15, George received a small electric guitar as a gift, and at 17, after graduating from school, he formed a small rock and roll band in which he sang and played. A year later, jazz organist Jack McDuff arrived in Pittsburgh. Today, some experts consider his first recordings with Jack McDuff to be the best in Benson’s entire discography. Benson was greatly influenced by the work of Django Reinhardt and Wes Montgomery, especially the latter's technique.
Among the new generation of guitarists playing jazz-rock and developing a relatively new jazz style - fusion, AI di Meola stands out. Enthusiasm young musician jazz guitar began with listening to a recording of a trio with the participation of Larry Coryell (who, by coincidence, Ol di Meola replaced in the same lineup a few years later). Already at the age of 17, he participated in recordings with Chick Corea. Ol di Meola masterfully plays the guitar - both with his fingers and a pick. The textbook he wrote, “Characteristic Techniques for Playing the Guitar with a Pick,” was highly praised by experts.
The innovators of our time also include the talented guitarist Larry Coryell, who has gone through a difficult creative path - from a passion for rock and roll to the newest trends of modern music. jazz music.
In fact, after Django, only one European guitarist achieved unconditional recognition throughout the world and influenced the development of jazz as a whole - the Englishman John McLaughlin. The heyday of his talent occurred in the first half of the 70s of the twentieth century - a period when jazz rapidly expanded its stylistic boundaries, merging with rock music, experiments in electronic and avant-garde music, and various folk music traditions. It is no coincidence that not only jazz fans consider McLaughlin “one of their own”: we will find his name in any encyclopedia of rock music. In the early 70s, McLaughlin organized the Mahavishnu (Great Vishnu) orchestra. In addition to keyboards, guitar, drums and bass, he introduced the violin into its composition. With this orchestra, the guitarist recorded a number of records, which were enthusiastically received by the public. Reviewers note McLaughlin's virtuosity, innovation in arrangement, and freshness of sound due to the use of elements of Indian music. But the main thing is that the appearance of these discs marks the approval and development of a new jazz direction: jazz-rock.
Currently, many outstanding guitarists have emerged who continue and enhance the traditions of the masters of the past. The work of Jimmy Hall's most famous student, Pat Mattany, is of great importance for the world pop-jazz culture. His innovative ideas significantly enriched the melodic-harmonic language of modern pop music. I would also like to note the brilliant performing and pedagogical activity Mike Stern, Frank Gambel, Joe Satriani, Steve Vai, Joe Pass student Leah Ritenour and many others.
As for the development of the art of playing the pop-jazz (electric and acoustic) guitar in our country, it would have been impossible without the many years of successful educational work of V. Manilov, V. Molotkov, A. Kuznetsov, A. Vinitsky, as well as their followers S. Popov, I. Boyko and others. The concert and performing activities of such musicians as: A. Kuznetsov, I. Smirnov, I. Boyko, D. Chetvergov, T. Kvitelashvili, A. Chumakov, V. Zinchuk and many others are also of great importance. Having gone from blues to jazz-rock, the guitar not only did not exhaust its capabilities, but, on the contrary, gained leadership in many new directions of jazz. Advances in the technique of playing acoustic and electrified guitars, the use of electronics, the inclusion of elements of flamenco, classical style, etc. give reason to consider the guitar one of the leading instruments of this genre of music. That is why it is so important for musicians of the new generation to study the experience of their predecessors - jazz guitarists. Only on this basis is it possible to search for an individual performing style of playing, ways of self-improvement and further development of pop-jazz guitar
conclusions
Nowadays, the topic of developing performing skills on the 6-string guitar remains relevant, since at the moment there are many schools and training systems. They include different directions, from the classical school of playing to jazz, Latin, and blues schools.
In the development of jazz stylistics, a very significant role is played by specific instrumental technique, characteristic specifically for the jazz use of the instrument and its expressive capabilities - melodic, intonation, rhythmic, harmonic, etc. The blues was of great importance for the formation of jazz. In turn, “one of the decisive factors in the crystallization of the blues from earlier and less formalized types of Negro folklore was the “discovery” of the guitar in this environment.”
The history of the development of guitar art knows many names of guitarists-teachers, composers and performers who created numerous textbooks on learning to play the guitar, many of them directly or indirectly related to the problem of developing fingering thinking.
Indeed, in our time, the concept of a guitarist includes mastery of both basic classical techniques, as a base, as well as the ability and understanding of stylistics, accompanying functions, the ability to play and improvise according to numbers, all the subtleties and features of blues and jazz thinking.
Unfortunately, in Lately the media gives very little influence not only to serious classical, but also to non-serious commercial types pop-jazz music
Listusedliterature
1. Bakhmin A.A. Self-instruction manual for playing the six-string guitar / A.A. Bakhmin. M.: ACC-center, 1999.-80 p.
2. Boyko I.A. Improvisation on electric guitar. Part 2 “Basics of chord technique” - M.; Hobby Center, 2000-96 pp.;
3. Boyko I.A. Improvisation on electric guitar. Part 3 “Progressive method of improvisation” - M.; Hobby center, 2001-86 p.
4. Boyko I.A. Improvisation on electric guitar. Part 4 “Pentatonic scale and its expressive possibilities” - M.; Hobby Center, 2001 - 98 pp.; ill.
5. Brandt V.K. Fundamentals of technique for a pop ensemble guitarist / Educational and methodological manual for music schools - M. 1984 - 56 p.
6. Dmitrievsky Yu.V. / Guitar from blues to jazz-rock / Yu.V. Dmitrievsky - M.: Musical Ukraine, 1986. - 96 p.
7. Ivanov-Kramskoy A.M. School of playing the six-string guitar / A.M. Ivanov-Kramskoy. - M.: Sov. Composer, 1975. - 120 p.
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