Municipal Autonomous Additional Education
"Children's music school" p. Kandra
municipal district Tuymazinsky district of the Republic of Bashkortostan
Methodological development:
« Features of initial training in the accordion class »
Completed by: Farrakhova I. V.
Content.
Introduction
Motivation for music lessons.
Donut period.
Playing by notes
Listening to music.
Selection by ear.
Playing in an ensemble.
Working on scales
Weight game
Principles of organization independent work student.
Ways for students to work independently with musical material.
Tasks in working with parents
Conclusion
Introduction
The initial stage of training is the most difficult and responsible. He is the basis of everything further relationship student to music, instrument, activities. This is the basis for all subsequent musical training. In addition to high musical qualifications, the teacher is required to have special psychological, volitional and moral qualities. Respect and authority of the teacher are especially important at such an early stage, where the personality of the teacher plays a large role. In many ways, the student’s attitude towards classes depends on this.
A teacher leading classes with young students must be able to create a relaxed, joyful atmosphere in the lessons, maintain a playful mood in them, and awaken their imagination. At the same time, the teacher is obliged not only to teach music, but, no less important, to educate with music.
It is very important, and this is perhaps the most difficult, to introduce music lessons into a child’s life in a natural way, without in any way separating him from the usual childhood life and, especially, without crowding him out of the child’s existence. The child will learn his job responsibilities later, but first you need to reveal to him the wonderful mysterious country music, help to fall in love with it without disturbing the child’s nature. And since the most important initial task is to “ignite”, “infect” the child with the desire to master the language of music, without separating him from the “playing phase” that is natural for his age, it is necessary to build a lesson in the form of an exciting game.
There are several common characteristic psychophysical features that need to be taken into account when working with primary school students:
Firstly, children of this age are not able to concentrate on any problem for a long time. Therefore, the content of the lesson should be varied and colorful so that the child’s interest does not weaken throughout the entire time.
Secondly, kids are distinguished by their curiosity, which must be satisfied.
Thirdly, the child easily perceives new things, but also quickly forgets. You must take this feature into account and make it a rule to constantly return to the material you have covered.
Fourthly, children's thinking process does not allow them to perceive and assimilate a large number of information, especially when presented in a concentrated manner. Therefore, forcing someone to rush and react quickly will lead to negative consequences, as it brings anxiety, fear, and haste.
Fifthly, young children tend to think in concrete images. Hence the principle follows: first tell, and then introduce any figurative designation.
A child should perceive playing the button accordion as a new form of entertainment. The teacher's task is to direct this entertainment. To do this, you can use anything that awakens the child’s imagination: musical material and a drawing, the text of subtext songs (preferably composed by the children themselves or with the help of a teacher), a story accompanying the game, tasks - puzzles.
One of the conditions in early lessons is to be able to attract the sympathy of the student. A teacher cannot hope that a child will love music if he does not become close to the personality of the teacher. It is important to create a relaxed environment so that the child can fully open up. This will help solve one of the most important problems - freedom of hands and natural movements to convey musical thoughts and feelings.
When starting classes with young children, first of all, you need to try not to scare them away with something too serious, which may seem tiresome or boring to them. Interest and desire, more than anything else, are the key to success in learning. It often happens that with an awakened interest in music, music itself helps to manifest and develop the necessary data specific to a musician: hearing, memory, sense of rhythm, etc. Only having managed to achieve interest in the first meetings with music can one gradually introduce the child to a narrower range of professional skills. And when moving on to professional training, you should first of all try to present the necessary knowledge to the child as easily and clearly as possible. Together with their fundamentals, musical thinking is formed, and the will to work is nurtured.
Introducing children to music should begin with musical material that is accessible and understandable to them. The method and specifics of the activities can most often be suggested by the child himself. Our lessons should be built on the simultaneous development of all important learning conditions for a musician.
Each lesson combines:
getting to know the keyboard;
gymnastics and hand positioning;
development of hearing, rhythm, memory;
formation of initial skills in playing an instrument (seating, learning the keyboard, methods of sound production and mechanics, developing fingering discipline);
mastering initial theoretical knowledge (keys, notes, note durations, counting, pauses, dynamics, strokes, etc.);
introducing the child to various types musical activity(independent performance of simple songs, playing in an ensemble with a teacher, singing to accompaniment, selection by ear, sight reading, rhythmic exercises, etc.)
The following conditions are required for successful training:
Physical fitness
Mental readiness
Motivational readiness (the child’s ability to switch to educational activities and contrast gaming activities with educational and cognitive ones)
You can find an appropriate approach to literally every child, regardless of the degree of his or her giftedness, and pick up the keys to enter the land of music.
Motivation for music lessons.
The teacher’s determination of the student’s musical knowledge and preferences are the starting point for his further individual development.
Purposeful work of the teacher with the student to master the musical language: identifying figurative content at the phonetic and syntactic levels, studying directions, styles, genres, musical forms, etc. The motivation for playing music will increase naturally as you master the musical language. With the expansion of the student’s range of musical interests and the formation of artistic taste music will gradually become a part of his spiritual life; he will not only practice the instrument, but also listen to music recordings and attend concerts.
A situation in which the level of mastering the musical language, and, consequently, the level of musical thinking, is somewhat ahead of the instrumental, technical development of the student can be considered normal. The motivation for practicing in such cases is spiritual in nature and contributes to the optimal development of all aspects of a young musician’s learning.
Repertoire is the most important factor in nurturing a student’s sustainable interest in music. In this regard, the principles of its selection can be determined by the following provisions:
Exercises and scales should be closely related to those studied in this moment plays, then working on them becomes meaningful for the student. Although the category of necessity here will prevail over the category of attractiveness.
Performance on stage - an important event for the student. It stimulates his activities, gives him confidence in his abilities, and gives him the desire for repeated success, if it is successful. An insufficiently prepared student should not be put on stage.
Donut period.
The pre-note period forms the basic skills of auditory-motor interaction when playing (see-hear-play-hear). In the pre-note period they are widely used various shapes work with the student, stimulating his own creativity. For example: movement to music, drawing, verbal description, composing music, selection by ear, transposition. The pre-notification period can last several months.
The tasks of the pre-notation period: to provide not only the necessary theoretical information and instill initial playing skills, presenting them in an interesting, accessible form for the child, but also to form the most important thing - passion for music, interest in classes, desire to work.
Contents of work during the pre-notation period: studying theoretical material, including notes, mastering the basics of landing, positioning hands through playing by ear with the right, left and two hands, playing in an ensemble with a teacher.
The specialty lesson should not duplicate the solfeggio lesson. Where the student has to memorize a lot of new words, definitions, concepts. Only the minimum of basic information necessary for classes at the moment should be given. However, the amount of theoretical knowledge offered to the student is quite extensive. It includes: explanation of new topics, demonstration on the instrument, use of didactic games, work with a teaching aid.To the teacher:make the necessary didactic material on various topics (visual aids with the names of notes, their durations, dynamic shades, accidentals, etc.)
An indispensable aid for a child in reproducing the rhythmic pattern and sound relationship of melodies learned by ear. At the same time, the student remembers the location of the notes and orally “reads” them from the sheet. Reading poetry will help the student better remember theoretical material. By working with the student on the ability to find the right intonation, highlight the words that are important in meaning, determine the tempo, mood, the teacher develops emotional sphere child.
The content of the work:
listening to music (determination of character, genre)
awareness of the rhythmic originality of genres
singing songs with and without accompaniment.
determination of the number of sounds, motives
awareness of the concept of relative pitch of sounds
acquaintance with fret
introduction to intervals
hand positioning and mastering strokes
playing in an ensemble
performance of light pieces, etudes, exercises
performance creative tasks: drawings for plays, composing small melodies, short poems, selection by ear, transposition.
Dedicate part of the lesson to exercises:
Finger exercises. Sitting at the table, first with one hand, then with the other and with both hands “together” (“Bridge”, “Jumping”, “Ball”, “Hopscotch”, “Jumping Bridge”).
Relaxation exercises.
Air valve exercises.
Imaginative perception, active work of the imagination - distinctive feature children's thinking. To develop imaginative thinking, the teacher is encouraged to use the following exercises in his work:
“Zipper lock for wrist relaxation. Freely slide up and down the keyboard.
“Bird flights with landings” - arc-shaped and wave-like movements on the keyboard.
“Marksman” or “Hunting”. A game for auditory-motor coordination. With a large movement of your hand, hit the desired key.
“Find me” - an exercise for developing hearing.
“Walking excavator” - transfer of character through touch from the 1st to the 5th finger with swinging of the wrist.
“Bear". The goal is to mechanically learn notes on the left keyboard. Perform in a different character.
“Echo” - development of auditory skills.
After making sure that the baby:
hears high and low sounds, the movement of the melody up and down;
knows well the structure of the keyboard, division into octaves;
name of the keys;
has an idea that a melody is made up of various durations and has a certain meter rhythm.
You can begin to study musical notation and play the notes.Learning to read music should be gradual, not forced. Experience shows that the best way to mastery musical notation- recording by the student of the melodies he plays. There can be no question of explaining rhythmic patterns to a preschooler. Rhythm is perceived by a child at this age aurally, visually, with the help of text, by comparing long and short durations. Indispensable for homework are sheet music, which sets out theoretical material in a fairly simple form, along with many creative tasks and riddles.
Proceed to the first practical lesson only after meeting the requirements for the student’s seating, instrument installation, and hand positioning:
prepare the belts
choose a chair of the right height
install a mirror (let the student admire himself)
In a specialty lesson, a student must first of all learn to play an instrument. Experience shows that it is preferable to start playing the instrument with the left hand. Plays must be selected taking into account the psychological characteristics of preschool children.
Melodies should be short (folk songs, songs and plays). The volume of pieces should not exceed 8 bars.
It is advisable to accompany plays with poetry ( poetic text not only creates an emotional mood in the child, but also helps to understand the rhythmic side of the song)
Build musical education on the Russian national basis, on classical images, on examples folklore creativity other peoples.
Preference should be given to the gamenon legato. You need to start learning by playing with one finger and from lesson to lesson with each new play involve all fingers in the work. Already in the first lessons, the student should understand the patterns of fingering based on the natural and comfortable placement of the fingers on the keyboard.
Listening to music.
Listening to music is an important factor in mastering its language. The most significant influence on a beginning student is usually the play of the teacher or older students. Listening to recordings and attending concerts at this stage of training is regulated by the teacher. It takes into account the availability of the repertoire and its quality. This process cannot be left to chance, because simultaneously with the comprehension of the language of music, the student’s taste is also formed.
Selection by ear.
At the very first lesson, the student’s goal is to make at least one sound on the button accordion, but he still has neither the knowledge nor the skills. Therefore, I recommend playing selection lessons with him in the form of a game.
The instrument is still in the hands of the teacher. It’s better to come from the student: ask him to sing any sound. Then, without showing the student the keyboard, play the sound they sang. And here is the first conclusion: on a button accordion you can reproduce the sound sung by a voice. If the student can sing another or more sounds, repeat them on the instrument. Will he be able to sing a familiar song? If so, play the tune he hummed.
It happens that a student’s attempts to sing a different sound lead him to repeat the same sound. This can be caused by several reasons: insufficient development of hearing, lack of coordination of hearing and voice, shyness, and finally, lack of understanding of what they want from him. Do not focus the student’s attention on his failure, go further: play two sounds in turn, one of which was sung by the student. It is better if these sounds are separated from each other by a significant interval, for example, a fourth or a fifth (but not an octave, as this may confuse the student). Ask him to “guess” which sound he sang. Repeat this exercise if necessary.
Now show the student two nearby keys (preferably not in the second but in the tertiary neighborhood on the same row), the sound of one of which he will sing. The task for the student: by pressing these keys one by one, find “your sound.” Note that the instrument remains in the hands of the teacher, and he controls the bellows.
Complicate the task: play one sound in the tessitura that the student can reproduce with his voice, ask him to sing this sound, and then, showing him two or three keys, among which there is a given one. Ask to find it by pressing the indicated keys one by one.
Playing in an ensemble.
The experience of many teachers working with beginners indicates that a student’s “entry” into music and self-expression in it is always more effective in a group. Seeing the reaction of his fellow students, the child becomes more actively involved in the work, perceives the music more attentively and deeply than alone with adults. It is advisable to practice initial training with two or three children at a time. In addition to application game forms works outlined above, options for joint performance of exercises and plays are possible, which develops the ability to hear a partner and listen to oneself, and also helps to “organize time.” If students are playing the same piece, you can divide the voices or hand parts between them, and write these or other pieces for a duet or trio.
Such early music playing in an ensemble is used quite rarely, but practice shows that the ensemble form of work in the initial period of education is not only possible and effective, but also very attractive for young children. They often learn ensemble parts faster and better than their solo pieces.
Playing in an ensemble with a teacher
Ensemble – This is a type of joint music making. Even G. Neuhaus wrote about playing in an ensemble: “From the very beginning, from the very first lesson, the student is involved in active music-making. Together with the teacher, he plays simple plays that already have artistic significance. Children immediately feel the joy of direct perception, albeit a grain, of art. Not yet knowing the notes, and the fact that students play music that is familiar to them, will undoubtedly encourage them to perform their first musical duties as best they can. And this is the beginning of work on an artistic image.”
The teacher’s tasks in working on the ensemble:
develop and activate creativity child's personality.
get your child interested in music
introduce your child to creativity
Playing skills children acquire when playing in an ensemble:
Getting to know the tool
Getting to know the range, keyboard
Mastering rhythmic patterns
Acquisition of basic initial gaming movements
Mastering dynamic shades and strokes
Development of sound imagination
Working with parents
Working on scales.
Various methods of working on scales increase students' interest in their playing, keep the children occupied and stimulate their practice of scales. The student should not play scales mechanically, formally, for the sake of tempo, without listening to what comes out. Fast playing should not be allowed to the detriment of evenness, accuracy, clarity of sound production and correctness of pianistic movements. The main task when working on scales is to improve the quality of performance. The tempo is the one at which everything can be heard and works out. In this work, we will consider playing exclusively scales, and not the entire scale complex (chords, arpeggios, etc.).
When playing scales, you need to watch and warn immediately
the following student deficiencies:
1. Fingers should not get stuck in the keys. Taking and releasing the key with your finger must be active and precise. To do this, your fingertips need to be slightly fixed and aimed at pressing the keys, but not raised high.
2. Do not bend the last phalanges of the fingers. This also depends on the fixation of the ends. You need to hook and secure the tip of your finger to the key.
3. Do not bend the wrist bones, feel the support of the clowns in them, otherwise the force from the shoulder will not reach their tips.
4. Do not “poke” with your first finger when changing positions, listen to the evenness of the sound of the scale so that the sound line is not broken.
Weight game.
The main sign of weight play is the feeling of the weight of the hand in the tip of the finger. This type of technique is widely used in piano performance. On the button accordion, its application has its own specifics. Firstly: the weight game cannot be fully used by the left hand, that is, used on the keyboard of the left half-body, since the feeling of the weight of the hand at the fingertip is limited by the presence of a working belt that presses the hand to the cover of the half-body. Second: feel the weight right hand also difficult due to the vertical layout of the keyboard. And finally: the pianist feels the weight of his hand on the horizontal surface of his instrument from the shoulder, and the accordion player feels it to a large extent from the forearm and keeps his hand suspended. However, despite the difficulties and limitations in sensation, weight play can be used extremely effectively on the right half-body keyboard.
The feeling of the weight of the hand must be cultivated from the very beginning of training. It underlies the achievement of motor freedom when playing without any kind of tension. At the very first lessons, you can do the following exercises: the teacher raises the student’s hand, then releases it, achieving a free fall.
Principles of organizing student’s independent work .
1. Individual approach to the student’s use of various methods, techniques and ways of working.
2. Formation of the student’s ability to analyze his own actions, development of independent thinking.
3. The student’s awareness of the goals and objectives of his work.
4. Formation of the ability to concentrate attention.
The teacher will contribute to more meaningful work of the student if he motivates goal settings. The hierarchy of goals for a teacher could look like this: first, to introduce the student to the world of the spiritual through music, second, mastery of the language of music, third, mastery of an instrument. Each subsequent goal in relation to the previous goal is only a means.
Application of various forms of work.
Game-based learning.
Clarity and accessibility of assigned tasks and goals.
The student's awareness of a positive or negative outcome.
Activation of hearing and gaming sensations.
Control of physical and psychological stress; avoiding fatigue as a preventive measure to maintain concentration in work and the ability to concentrate.
Development of the ability to simultaneously control: articulation and dynamics, bellows and finger movements, melody and accompaniment, etc.
Methods for student independent work
with musical material.
The teacher explains the task to the student, considering possible ways to complete it.
To make sure that an understandable task is correct, he asks the student to complete it right there in the lesson, albeit imperfectly, with stops and corrections.
Then he listens to the teacher's opinion. Noting successful episodes, the teacher asks to remember how he worked on them, recording in his mind the moments that contributed to a positive result. In case of failure, the teacher corrects the work done or offers alternative solutions.
Selected moments homework can be reproduced in class in order to identify the causes of failures and determine methods for solving them.
Tasks in working with parents:
inclusion of parents in the educational process
make parents good helpers to their child in his daily activities at home.
formation of new family interests
spiritual rapprochement between children and parents
formation of motivation, thanks to which interest and diligence in music lessons increases.
It is very important, when starting work with children 5-6 years of age,make parents partners in the pedagogical process.
HELL. Artobolevskaya wrote: “The joyful work for the parents themselves should be the time they devote to musical studies. The family can and should become the first stage of artistic education.”
Cooperation goals:
creating in the family an atmosphere of utmost respect for any good music (instrumental, symphonic, opera, ballet, jazz, folk)
creation of a single community: teacher, child, parents, the basis of which is:
complete trust
goodwill
interest and common purpose
Work with parents is carried out in 2 directions:
individually
with a group of parents
Most rational form working with parents:
inviting parents to lessons (the initial stage of education is especially important)
parent meetings with student concert
individual and collective consultations
family events (holidays, competitions, family evenings dedicated to various topics, at which students will have the opportunity to demonstrate their musical abilities acquired during work in all sections of the program.
Conclusion
One of the most important stages in a musician’s professional training is the initial period, when the student’s first acquaintance with the instrument occurs and basic auditory and physical sensations are laid. The task of primary education is to introduce the child to the world of music, its expressive means and instrumental embodiment in an accessible and exciting form for this age. When working with beginners, musical and educational teaching methods that are close to the education of preschoolers should be used. Much depends on how this work was carried out, and shortcomings in it can affect even years later.
Bibliography
I. Alekseev “Methods of teaching playing the button accordion.” Moscow 1980
A. Krupin “Questions music pedagogy" Leningrad 1985
B. Egorov “General principles of staging when learning to play the button accordion.” Moscow 1974
V. Zavyalov “Bayan and issues of pedagogy.” Moscow 1971
G.I. Krylova. “The ABC of a little accordion player,” part 1, part 2.
F. Lips “The Art of Playing the Accordion.” Moscow 1985
D. Samoilov. "An accordionist's anthology, 1-3 grades."
V. Semenov. " Modern school playing the accordion."
Rhythm is one of the central, fundamental elements of music, which determines one or another pattern in the distribution of sounds over time. Feeling musical rhythm is a complex ability that includes perception, understanding, performance, and creation of the rhythmic side of musical images.
The foundations of creative perception of rhythm should be laid from the first steps of music lessons. Working on rhythm - important aspect activity of a performing musician at any stage of development of his skill.
Like other musical abilities, the sense of rhythm can be trained and developed. But, since all musical expressive means are interconnected and solve a specific musical problem, the development of a rhythmic sense is possible only in inextricable connection with other components of the musical fabric.
One of the main problems in a specialty class is the lack of clear rhythmic sensations in the student. Quite often in the accordion class we are faced with non-rhythmic performance of musical works. There can be many reasons for such a game: an unsteady feeling of metrical pulsation; inability to imagine with the inner ear the sound of a specific rhythmic figure; lack of internal rhythmic pulsation - the ability to fill a large duration with smaller durations; the technique of performing the button accordion is opposed to the clarity of the performer’s metrhythmic sensations; insufficient musical education performer.
During the playing process, the performer controls the sound control of the button accordion by moving the bellows. Thus, when performing, smooth movement of the bellows makes coordination difficult; tactile sensations on the keyboard of the instrument are more uncertain compared to playing on the piano, since on the vertically located keyboard of the accordion-bayan it is more difficult to find a feeling of support, and this tactile sensation is especially important in the performance of complex rhythmic elements .
The primary emotional representation of music through movement is important stage. One of the techniques for developing a sense of rhythm, especially in initial stage learning is calculation music performed. A melody is formed when sounds are organized rhythmically. If they are scattered outside a certain rhythm, then they are not perceived as a melody, that is, the rhythm has great expressive power and sometimes characterizes the melody so clearly that we recognize it only by its rhythmic pattern. If the child’s sense of rhythm is imperfect, speech is poorly developed, it is inexpressive, or poorly intonated. Very important in teaching music is the teacher’s ability to make his students feel the power of music and awaken in them a love for art. Various exercises and games will help with this. During the first lessons, group lessons are possible.
1. Listen to any rhythmic pattern or melody.
2. Foot timing: marching to the count: 1,2,3,4. We march, highlighting (stomping strongly) 1 and 3 - strong beats. We march, highlighting only 2 or, for example, 4.
3. Timing with feet: marching to the music (2 quarters) - highlighting the strong beats.
4. Hand timing: clap your hands. On the downbeat, make a big swing, spread your arms to the sides, clap your hands. We don’t swing on the weak beat, we only touch it with our fingertips.
5. Timing with hands to music (2 quarters). On the strong beat there is a loud clap - “palms”, on the weak beat - a quiet clap, “fingers”.
6. Timing with hands (clap) or feet (stomp in place, hands on the belt) nursery rhyme, loud on the strong beat, quiet on the weak beat. For example,
Bom-bom, tili-bom.
The cat's house caught fire.
The cat jumped out
Her eyes bulged.
7. We march in quarters with the words: “Step, step, step, step.”
8. We run on tiptoes (eighths) with the words “Run, run, run, run.”
9. If working in a group, divide into groups - one group walks “step-step”, and the other “run-go, run-go”.
10. “Cat House” - stamp a rhythm for each syllable. The above will look like this:
Step, step, run, step.
Run, run, run, step.
Run, step, run, step.
Run, step, run, step.
11. The group is divided into 2 parts - we recite “Cat House” and walk: one half is meter (only for strong and weak beats), the other is rhythm (for each syllable).
12. Clap the same thing.
13. You can tap on a drum (on a chair, on a table top, on the floor, etc.), rattle a rattle, etc.
14. Clap and walk at the same time.
15. Walking. First, the usual marching, then at “one” - a step forward, at “two - three” - two steps in place.
An exercise to develop coordination, as well as a sense of tempo and rhythm.
For one step - two claps and vice versa. Try to perform movements smoothly and rhythmically.
Exercise “Funny Legs” to develop a sense of rhythm and motor skills
The student sits on a chair, back straight, hands on his belt, legs bent at an angle of 90°. To the music, he puts one foot forward on the heel, then on the toe and puts it in its original position, making 3 stomps with his feet alternately. Then repeat on the other leg. It is important to monitor the rhythm of the performance. The exercise can be performed to music.
An entertaining exercise “One, two - islands” to develop a sense of rhythm.
Place your hands on the table, palms down. Bring your fingers closer to you a little. Quietly pat all your fingers on the table. You can tap out in this way the names of familiar children, the names of animals, birds, trees.
Left hand Right hand
One, two - islands.
Three, what - you - we've come.
Seven, seven - how many days!
Ten, ten - I'm on my way.
I counted to ten!
Rhythmic dialogue with a student - we “talk” by knocking - we encourage you to respond with a phrase of the same length, tempo, character, but with a different pattern. Similar rhythmic exercises can be carried out at each lesson, allotting 5-10 minutes to them. For example, game "Echo":
Game "Reverse Echo":
Having learned through games that music has its own rhythm and tempo, the student must understand that music is alive because it has a meter. The meter is best perceived as a "pulse", steps in moderate motion. Meter is an alternation of reference and non-reference sounds. Like breathing and heartbeat, music seems to pulsate evenly, constantly alternating between moments of tension and decline. Moments of tension are strong beats, moments of decline are weak beats. If musical composition This is a house, then the bars are its rooms, all of the same size. A beat is a segment of music from one strong beat to another. Rhythm, meter, tempo are indissoluble. The purpose of rhythmic exercises is to introduce complex rhythmic figures and prepare for the performance of complex pieces.
A generally accepted scheme of durations can be given after performing simple rhythmic exercises. During classes, offer children the following situations: “If an elderly person walks slowly, how does his heart beat, what is his pulse? If one person is walking calmly and another is running, how does their pulse beat: at the same pace or differently?” The teacher plays the pieces, and the child beats the “pulse”, then writes it down. 
New game: Mom walks with the baby, the mother has big steps, and the baby has 2 times more steps. So dad came home from work and also decided to take a walk with his family. But dad’s steps are very long, he walks slowly. 
You can invite your child to write rhythmic patterns for any toys or fairy tale characters. The result is a game “Whose steps are these?” The child explains who is coming, approaching or leaving. Particular attention should be paid to the correct graphic reading of the rhythm. It is necessary to consolidate temporary: metric, visual and auditory perception. Be sure to explain to the student that when writing notes, the distance between them depends on their duration. Already in the first lessons, a child can learn 4 rhythmic units:
Thanks to the imagery, this technique is well absorbed by children. In general, in the pre-note period, children learn 10 rhythmic units: 
From these rhythm cards you can create various rhythmic patterns.
The above games and exercises serve as an excellent addition to specialty classes in the button accordion class. They allow you to conduct lessons easily, “in one go,” not tiring and useful for the child.
Exercises can be varied depending on individual characteristics each child, using a creative approach and special attention to the student.
Bibliography:
- Alekseev I.D. Methods of teaching playing the button accordion. M.: GosMuzIzdat., 1961.
- Volkova G. A. Speech therapy rhythm. M.: Vlados, 2002.
- Pankov O. About the accordion player’s work on rhythm. M.: Muzyka, 1986.
- Samoilov D. 15 lessons on playing the button accordion. M.: Kifara, 1998.
- Franio G. The role of rhythm in aesthetic education children. M.: Soviet Composer, 1989.
Specifics of sound production on the button accordion and accordion.
MBOU DOD DSHI v. Barda
Accordion teacher Nazarova Elvira Saitovna
Plan
Introduction
Sound production technique
Dynamics.
Thinning.
Strokes and techniques of playing the button accordion.
Types of carcass and fur science.
Conclusion
Introduction
Compared to piano, organ or instruments symphony orchestra, button accordion and accordion are young instruments.
Every year, the features of academicism begin to appear more and more clearly in the performance of the button accordion and accordion. This movement is not a departure from national traditions, nor a rejection of the past of the button accordion and accordion. What we are seeing today is a logical continuation of what was done by talented performers, teachers, composers, designers during the 20s - 30s and, especially, the 50s - 90s. This previously unprecedented activity of enthusiasts in the shortest possible time radically changed the bayan and accordion itself and the idea of it.
It is not surprising that today the button accordion and accordion are both a mass instrument of folk culture, pop, folk (folklore), and academic instrument.
To a certain extent, a different approach is possible in determining the directions of development of the button accordion and accordion. In this case, there will be three of them: folklore, pop and academic, when the first will include the use of the button accordion and accordion in folk art of the oral tradition.
The process of academization of the button accordion took place with particular speed in the 50s. This is primarily due to the emergence highest degree education for musicians of this specialty: the opening of the department in 1948 folk instruments at the Moscow State Musical Pedagogical Institute named after the Gnesins, and later by the creation of a whole network of universities where accordionists and accordionists studied.
It was not accidental, but quite natural, that the thinking of performers, conductors, and teachers reached a qualitatively new, higher level. In a relatively short period, “breakthroughs” occurred in the field of pedagogical and methodological thought, the repertoire changed fundamentally, and solo performance took unprecedented steps forward. At the same time, one of the most important issues in the development and formation of each musical instrument - the issue of sound production - could not be resolved with sufficient completeness. Many outstanding accordion players (for example, I. Ya. Panitsky, P. L. Gvozdev, S. M. Kolobkov, A. V. Sklyarov and others) intuitively solved this problem in their work. Many researchers (B. M. Egorov) made discoveries in the field of methodological thought.
However, not fused together, the achievements of performance and theory of radical change could not give: steadily increasing, the level
training of the bulk of accordion players (students) in the field of sound production techniques and currently does not yet meet the requirements of academicism.
Sound production technique
Sound is the main means of expression. Highly skilled musicians make even simple, technically uncomplicated works sound extremely attractive. This is the result great job over the culture of sound.
The work on sound is varied and specific to each instrument. For example, on a button accordion and an accordion it is easy to refine the sound, since the instruments have a large supply of air in the bellows, but on these instruments it is not possible to distinguish chord sounds of different strengths.
Working on sound involves mastering timbre, dynamics, and strokes.
Changing the timbre on button accordions and accordions is carried out using registers. If they are not there, work on sound comes down to mastering dynamic and line subtleties. They also form part of the technical means of musical performance, no less important than such elements of technique as fluency, chord technique, leaps, etc.
When performing cantilena works, it is necessary to strive as much as possible to bring the sound of button accordion and accordion closer to singing, to the human voice.
Dynamics
Dynamics is the change in sound intensity. It is imperative for the performer to develop the ability to sense both gradual and sudden changes in sound strength. While working on dynamics, you should simultaneously develop the habit of pressing the keys with the same force on both the forte and the piano. Many button accordion and accordion players, when playing forte, instinctively press the key with greater force than required by the resistance of the spring, and this restricts the freedom of movement of the hand and impedes the fluency of the fingers.
Before you start working on dynamics exercises, you need to carefully study the volume of dynamic capabilities (dynamic scale) of your instrument, that is, its sound from the most delicate pianissimo to maximum fortissimo. It is important that throughout the entire dynamic scale the timbre of the sound does not lose its colorfulness. If you demand from an instrument a forte for which the sound is not designed, it will begin to detonate and lose its characteristic sound - timbre. It is therefore necessary that the student knows the maximum fortissimo for his instrument at which the sound does not detonate, as well as the maximum pianissimo at which the instrument would respond.
Simultaneously with the development of auditory sensation, it is necessary to develop a sense of the strength with which left hand must work with fur. It is impossible to calculate exactly with what force it should compress or stretch the bellows on the border between detonation and pure fortissimo sound, as well as at the moment of the most delicate pianissimo. Therefore, you need to leave a dynamic reserve, in other words, a spare dynamic shade on the side of the minimum and on the side of the maximum sound. The working dynamic scale of the instrument should begin with a slight deviation from the maximum pianissimo and end slightly short of the maximum fortissimo.
Let us denote conditionally the limiting pianissimo for a given instrument by the sign ppp, and the limiting fortissimo at which the instrument does not detonate by fff. These extreme spare shades in the dynamic scale (ppp and fff) seem to warn against using such pianissimo when the instrument cannot sound, and such fortissimo when the instrument begins to detonate. A student who has already acquired a sense of the beginning and end of the working dynamic scale should begin to develop the feeling of the three main dynamic shades - piano, mezzo-forte, forte. It is recommended to do this first on a separate sound, then on a chord. Once the student has mastered this skill, it must be reinforced by playing scales with both hands in unison or with double notes separately, first on the piano, then on the mezzo forte and finally on the forte.
This skill can be strengthened even better if, after such exercises, you play scales with mixed strength. You can do this, for example, like this: play the piano four sounds with release and four with compression, perform the next four sounds with release and four with compression in mezzo-forte, then with compression and release-forte. In the future, during exercises, you should try to vary the comparison of dynamics in one scale as much as possible in order to acquire the skill of auditory sensation of dynamic shades and forceful sensation of them in the left hand.
Mixed dynamics exercises are very helpful in acquiring the skill of pressing the fingers of your right hand evenly on the keyboard when changing dynamics. When performing them, you need to control the pressure of your fingers.
In addition to the main dynamic shades, the dynamic scale also has intermediate ones: pianissimo, mezzo-piano, fortissimo.
So, the entire dynamic scale, including spare shades, consists of eight steps: ppr, pianissimo, piano, mezzo - piano, mezzo - forte, forte, fortissimo, fff. The lower step will be the pianissimo reserve (ppr), the upper step will be the fortissimo reserve (fff). Each of these steps must be carefully worked out in the student’s auditory perception.
In order to acquire the skill of feeling the force with which the hand pulls the bellows at each dynamic stage, the dynamic scale should be worked out sequentially in an ascending order - from pianissimo to fortissimo, and then in a descending order - from fortissimo to pianissimo, as well as in various variations. The feeling of dynamic steps is strengthened better if distant dynamic steps are compared in exercises. If, for example, you are asked to play fortissimo and fff (dynamic reserve). If you are asked to play mezzo - forte, mezzo - piano and piano, you need to check whether pianissimo and ppr (reserve) are left in the instrument. If you are asked to play fortissimo and piano, you should check whether mezzo - piano, mezzo - forte and forte will fit in this dynamic interval.
Thinning
Simultaneously with mastering the dynamic scale, you need to work on thinning individual sounds, double notes and chords. Filing is a combination of crescendo and diminuendo on one note or group of notes. On the button accordion and accordion, this technique does not present any difficulties, since the large supply of air in the instrument allows you to fillet notes from the finest pianissimo to fortissimo, and vice versa, several times in a row, without even changing the direction of the bellows. You must first learn thinning on a separate sound or chord. You can, for example, take a sound up to half its duration at a moderate tempo. The first quarter is to perform a crescendo from piano to mezzo forte, the second quarter is to perform a diminuendo from mezzo forte to piano. In the same way, thinning is done from mezzo-forte to forte and back.
The next exercise is to fillet a whole note from piano to forte. In this case, it is divided into four fused quarters. In the first quarter they make a crescendo from piano to mezzo-forte, in the second - from mezzo-forte to forte, in the third and fourth quarters - diminuendo from forte to mezzo-forte and from mezzo-forte to piano.
Having learned to thin out a long note and chord, they move on to thinning out scales. A group of notes specified in a scale can be milled either by moving the bellows in one direction or by a combination of squeezing and releasing.
Let's say you need to play six notes on a bellows cut from piano to forte. This task can be performed like this: play the first note with piano, the second with mezzo-forte, the third with forte, the fourth with forte, the fifth with mezzo-forte, and the sixth with piano. The crescendo goes from the first note to the third, on the third and fourth notes it is fixed at a given strength, and from the fourth there is a diminuendo, which ends on the last, sixth note.
If a given phrase of six notes needs to be cut from piano to forte by compressing and releasing the bellows, the bellows is changed after the third note.
Having learned to mill on the main dynamic shades, move on to mastering thinning on the entire dynamic scale, including intermediate shades.
The teacher should also teach the student to perform crescendo and diminuendo from any dynamic level, checking the correct ending of the crescendo and diminuendo with the extreme steps of pianissimo and fortissimo.
Strokes and techniques of the game. Types of carcass and fur science.
The most important issue in the interpretation of the category “strokes” - through the efforts of B. M. Egorov (partly F. R. Lips and others) was developed convincingly and significantly contributes to the emergence of new, promising ideas.
Let me remind you of the formulations of B. M. Egorov and F. R. Lips. According to Egorov: “Strokes are characteristic forms of sounds obtained by appropriate articulatory techniques depending on the intonation and semantic content of a musical work. According to Lips: “A stroke is a sound character determined by specific figurative content, resulting from a certain articulation.”
In his work, P. A. Gvozdev was the first to systematically outline the types of accordion touching and fur science. B. M. Egorov supplemented and clarified them.
Types of touches and removals.
Pressure - release.
Push - withdrawal.
Impact - rebound.
Slipping is a breakdown.
Methods of fur management.
Accelerated.
Slow motion.
Fur jerking.
Tremolo bellows.
Dotted lead.
“The most important theoretical generalization of practical performing experience is the technique of incomplete (partial) opening of the valve recommended by P. Gvozdev for various types of touches. Its essence lies in the fact that the zone of influence of the touch on the characteristic of the stationary part of the sound will be in the range from the maximum - the full opening of the valve (the finger presses, hits, pushes the key all the way), to the minimum - the smallest level of opening (lifting) of the valve (the finger presses, strikes, pushes a key a small part of the full amplitude of the keyboard lever stroke).
In the zone of this technique there are dozens of intermediate gradations; we also find a brief mention of this technique in another famous accordion player and teacher N. Rizol.”
Considering the topic of strokes on the button accordion and accordion, playing techniques, types of touches and mechanics, the authors see the need for at least a brief reflection on some objective and subjective factors in performance. This is necessary for a specific and accurate understanding of the purely technical tasks facing the accordion and accordion players.
Conclusion
Finishing the text part of the work, I in no way believe that all the issues presented on the pages have been fully resolved. Taking this topic seriously, I clearly understand the degree of complexity of the work that performing musicians do, but which can only be completed through the efforts of many, many accordionists, teachers and, of course, students.
Some topics are touched upon in the work only partially, others - very briefly: the desire to focus on the main problems in sound production on the button accordion and accordion did not allow me to expand its scope.
Literature
I. Alekseev “Methods of teaching playing the button accordion.” Moscow 1980
F. Lips “The Art of Playing the Accordion.” Moscow 1985
V. Pukhnovsky “School of Fur Science and Articulation for Accordion.” Krakow 1964
B. Egorov “On the issue of systematization of accordion strokes.” Moscow 1984
B. Egorov “General principles of staging when learning to play the button accordion.” Moscow 1974
A. Krupin, A. I. Romanov “Theory and practice of sound production on the button accordion.” Novosibirsk 1995
A. Krupin “Issues of music pedagogy.” Leningrad 1985
M. Imkhanitsky “New about articulation and strokes on the button accordion.” Moscow 1997
M. Oberyukhtin “Problems of performing the button accordion.” Moscow 1989
V. Zavyalov “Bayan and issues of pedagogy.” Moscow 1971
V. Motov “On some techniques for producing sound on the button accordion.” Moscow 1980
A. Sudarikov “Performing technique of an accordion player.” Moscow 1986
RECOMMENDED READING
Akimov Yu. “Some problems of the theory of accordion performance.” ed. Soviet composer. M. 1980
Alekseev A. Methods of teaching piano playing. M. 1981
Methodological collection “Accordion and accordion players”. Vol. No. 1, No. 5.
Issues of professional education of an accordion player. M. 1980
Barenboim L. “The path to playing music.” L. 1979
Shatkovsky G. Magnetic recording of a speech at a seminar of teachers of children's music school in Angarsk. January 5-9, 1978
Pankov O. About the accordion player’s work on rhythm. M. 1986
Issues of music pedagogy. Vol. 6.
Teplov M. Psychology of individual differences. M. 1985
READY-SELECTIVE BAYAN IN THE INITIAL PERIOD OF TRAINING
Despite the obvious progressiveness of the invention of the elective keyboard, the elective button accordion made its way into life with great difficulties. In heated debates between the “old” and the “new”, not only truths were born, but also misconceptions.
“Most people play either double-row or ready-made button accordions. Now it’s time to leave both of them and move on to playing elective button accordions, since only they are suitable for transmitting musical works without any distortion, with all the features with which the musical work came out of the hands of the composer,” wrote the section chairman State Institute of Music Science, Professor A. Rozhdestvensky in 1929. "Old" long time did not want to give in to the “new”.
“Mastering the technique of playing the elective button accordion on the left keyboard presents significant difficulties, which is why the elective button accordion has not become widespread,” writes Az. Ivanov in the “Initial course of playing the button accordion” (Published “Music” L. 1967).
Two extremes are obvious here, because on the one hand, it was impossible to ignore the invention, which opened up great prospects for accordion players; on the other hand, it was impossible not to take into account that the finished button accordion had already gained great popularity among the people by that time, had qualified teachers, performers, special methodological literature and an original repertoire. In this regard, the craftsmen found a compromise version of the instrument - a ready-made button accordion.
However, the future of the button accordion with ready-made chords was in doubt. S. Chapky writes: “Actually, the elective-ready instrument will in the future become, in all likelihood, a purely elective button accordion, free from the elements of the ready-made button accordion, switches, complications that burden the instrument and the technique of playing it and slow down the process of transition of musical-performing culture to a higher level" (S. Chapky. "School of playing the elective button accordion." Kyiv, 1977, p. 5).
It turns out that if previously the elective keyboard was a hindrance to performance improvement, now a ready-made button accordion has become an obstacle to the development of performance.
Currently, no one doubts the availability of technical means of an elective keyboard, because the era of an elective button accordion in music schools.
The disputes subsided over time and now, the published educational and methodological material is presented with the expectation of studying ready-elective button accordion
This is correct for two reasons:
There is still a problem of the original repertoire for the elective button accordion. Accordionists widely use transcriptions of works for piano, organ, etc., however, it is quite natural that the basis of the repertoire of any instrument should not be transcriptions and transcriptions, but original compositions. The problem of original educational repertoire in music schools is especially acute. The finished-elective button accordion has more stimulating opportunities for creating original compositions.
In conditions of repertoire deficiency, it is simply inappropriate to talk about a finished accordion in terms of its shortcomings. It is also necessary to take into account the fact that the button accordion is a folk instrument, it is not only a soloist, but also an accompanist, an instrument for pop and everyday life, therefore a keyboard with ready-made chords is indispensable here.
Another question: when should you start learning on the optional keyboard?
Modern methods do not exclude the advisability of studying an elective button accordion at the initial stage of training. However, according to A. Onegin, this work “requires preliminary study of the basics of playing the instrument and the acquisition of certain musical theoretical knowledge.” (A. Onegin. “School of playing the ready-made button accordion.” Publishing house “Music” M. 1979, p. 90).
“The finished button accordion is the main instrument in the initial period,” stated A. Surkov (Collection “Bayan and button accordion players,” Issue 2. M. 1974, p. 48). In his “Manual for initial training on a ready-made button accordion,” he wrote, apparently with a focus on future professionals: “The study of an elective button accordion should be carried out in parallel with classes on a ready-made button accordion and students should be involved in it who have good musical abilities and successfully cope with the program." (M. 1973, p. 3).
In relatively new publications (for example, V. Nakapkina) it is proposed to extract the first sounds on the right keyboard, and then perform the same musical material with the left hand on elective keyboard.
“School” by P. Govorushko opens with pieces for accordion with an elective scale; “it is advisable to begin studying standard accompaniment as soon as the student is ready to master musical notation in the bass clef” (Page 2).
G. Stativkin also suggests starting with exercises to extract individual sounds on the right keyboard, then the same music. use the material (as in V. Nakapkin) to study the elective keyboard of the button accordion. One detail from G. Stativkin attracts special attention. An exercise is performed with the right hand (to extract individual sounds) “with passive movement of the fur,” i.e. without the participation of the left hand, only using the weight of the left half-body of the button accordion (p. 11).
Back in 1978, V. Semenov wrote that there were new trends in mastering the elective keyboard during the period of initial training, but “immediately after mastering the right keyboard” (Collection “Bayan and button accordion players” Issue 4. Page 43). It is difficult to understand the author here, because in the same work we read above: “The “separation” of the bellows operation from the work of the fingers on the selectable keyboard is of particular importance. Difficulties in the game often arise from the inability to operate the various groups of arm muscles sufficiently independently of each other.” (Ibid. p. 77).
If the “delimitation” becomes special meaning, which means you should start classes with the left hand, so that the child’s attention is not overloaded from the multifunctionality of the muscles of both hands, because when playing the button accordion with one right hand, both hands are used.
G. Stativkin takes this circumstance into account and therefore suggests first focusing on one right hand with passive movement of the fur. This is where the state of passivity confuses, i.e. actual uncontrollability of sound. How, in this case, should we deal with the “formation of the initial musical and artistic hearing ideas on what, in fact, the author’s “Primary Training...” is based?
Many, back in 1974, were the work of B. Egorov. “General principles of staging when learning to play the button accordion” convinced me of the need to start learning with the left hand, because “along with performing your part... the most important function of the left hand is to control the movement of the bellows... This requires the most attentive attitude to the positioning of the left hand." (Collection “Accordion and accordion players”. Issue 2 Page 34).
If this is so, then wouldn’t it be easier to start classes, directly from the select keyboard?
You should also not put off learning the keyboard with ready-made chords for a long time, because... “this deprives the student of access to a truly accordion repertoire, reduces interest in amateur music-making.” (P. Govorushko. “School of Play...”, p. 2).
It should be added to this that the issue of dosage of educational material for ready-made and elective button accordion in primary education should be considered by the teacher on the basis of the dialectical unity of the keyboards, and not from the point of view of their separation.
LIST
Akimov Yu. “Some problems of the theory of accordion performance.” M. 1980
Barenboim L. “The path to playing music.” L. 1970
Ivanov Az. "Beginner course on playing the button accordion." Ed. “Music” L. 1967
Chapky S. “School of playing the elective button accordion.” Kyiv. 1977
Lips F. “Let's talk about the button accordion.” Magazine "Musical Life" No. 13, 1976
Onegin A. “School of playing the ready-made button accordion.” Ed. "Music". M. 1979
Surkov A. “A manual for initial training on a ready-made button accordion.” Ed. "Soviet composer". M. 1973
Akimov Y. “School of playing the ready-made button accordion.” Ed. "Soviet composer". M. 1977
Shulpyakov O. “Technical development of a performing musician.” Ed. "Music". M. 1973
Savshinsky S. “The pianist’s work on technique.” Ed. "Music". L. 1968
Zach Ya. “Articles.” Materials. Memories". M. 1978
Belyakov V., Stativkin G. “Fingering of a ready-made button accordion.” M. 1978
Govorushko P. « Primary School playing the accordion." L. 1988
Nakapkin V. “School of playing the ready-made button accordion.” M. 1985
Stativevkin G. “Initial training on an elective-ready button accordion.” M. 1989
Methodical collections “Accordion and accordion players” No. 1 – 6. 1970 – 1984.
FINGERING
IN THE INITIAL PERIOD OF TRAINING
Is the five-finger fingering system, called “positional”, applicable in the initial period of learning?
The issue of button accordion fingering, one way or another, touches on many issues of button accordion technology, including setting up the gaming machine.
N. Rizol rightly believes that at this stage of development of button accordion technology, both four and five fingered ones have the right to life
fingering system, but not everyone agrees with him that the staging should be different for each system.
For example, V. Semenov says that from the first lessons he held a five-row button accordion in his hands, so he did not know the problem - what setting and fingering to play.
A. Dmitriev, known for his impeccable performance technique, already as a student at the conservatory, retrained to the five-finger system and believes that there is no point in mastering both systems.
In teaching aids you can read that the finger located behind the fingerboard is the “fulcrum” of the player, a “landmark”. At the same time, in practice, many modern accordion performers calmly do without this “landmark” and “fulcrum point”, leaning with their whole brush on the fretboard, while brilliantly demonstrating the magnificent technical capabilities of the button accordion.
S. Chapky writes: “The thumb behind the fingerboard is “the player’s fulcrum, without which accurate and clear play is unthinkable.” (S. Chapky. “School of playing the elective button accordion.” Kyiv. 1980).
It can be noted with irony that everyone who now does without this “peculiar guide” is associated with “evil spirits.”
Contradictions sometimes arise on the pages of a manual by one author.
In 1980, “The School of Playing the Accordion” by Yu. Akimov was published, in which on page 19 we read that when making thumb because of the neck, “the contact of the hand with the keys is disrupted, ... the right hand is turned off from the process of controlling the bellows, the position of the instrument becomes less stable.” And suddenly, on the same page, “the use of the first finger contributes to the development of the accordion player’s technique”!!!
Many accordion teachers write about the inappropriateness of using the thumb in the initial period of training. In particular, N. Rizol: “As experience shows, to use the thumb in grades 1-2, when the student has not yet acquired the skills to navigate the keyboard, when the button accordion is not yet firmly on his knees, when, while working with the bellows, the student loses the keys – using the thumb at this stage would be premature” (N. Rizol. “Principles of using five-finger fingering on the button accordion.” M. 1977, p. 229).
Why, then, in the educational and methodological literature for the button accordion, in the methodological sections on planting and setting, is there no mention anywhere of the thumb of the right hand, which performs the function of supporting the instrument, and what does this have to do with the work with the bellows, which is actually performed by the left hand?
P. Gvozdev called the four-finger performance “a natural button accordion.” It is easy to doubt this. “Nature, whose pedigree goes back centuries, has preserved a number of innate and extremely inert mechanisms that are extremely harmful when developing gaming techniques. One of them is the grasping reflex” (O. Shulpyakov. “Technical development of a performing musician” M. 1973, p. 39). It is this reflex that is triggered very often when a student makes a sound for the first time using a “natural accordion” production. As a result of further work, the child acquires a number of subconscious skills that are easily automated, but not easily realized, and “to get rid of them requires special and, moreover, difficult work. (S. Savshinsky. “The pianist’s work on technique.” L. 1968, p. 67). But in childhood, the main way to acquire skills is subconscious, so changing the position of the hands is fraught with great difficulties.
The history of music pedagogy knows many examples when many things were affirmed that were in conflict with elementary anatomical and physiological norms. For example, violinists from the 18th century to the mid-20th century had an elbow extended to the right to the limit. To some extent, this is justified by the fact that techniques for developing technology were discovered empirically in the process of practice, without relying on the natural sciences (physiology, for example), because these sciences themselves were poorly developed.
Accordion players began to receive professional musical education relatively recently. Self-taught people, or “nuggets” as they were called, could have only a weak idea of the psychophysiological nature of game movements.
Isn't history repeating itself for accordionists in our time?
Nowadays, there are more and more accordion musicians who base their performing technique on a five-finger setup using all the possibilities of the natural weight of the hand, which is largely limited by the thumb located behind the fingerboard. Due to the location of the keyboards on the button accordion in a vertical plane, the problem of using natural
hand weight and contact with keyboards has not been sufficiently studied, but it “has long been solved by famous accordion players, and our task is to delve into the technology they use and use it in working with students.” (Methodological collection “Bayan and accordion players”, issue 2, p. 29).
So is “positional” fingering applicable in the initial period of learning?
The concept of “position” is taken by V. Belyakov and G. Stativkin from the practice of playing string instruments: “this is a position on one or another section of the keyboard.” (V. Belyankov and G. Stativkin. “Fingering of a ready-made button accordion” M. 1978).
When applied to the button accordion, this formulation is not entirely accurate, because, unlike string instruments The button accordion has keys, each of which must be “known” by a certain finger in any position of the hand on the keyboard. N. Rizol’s definition is more suitable here: “The button accordion position should be understood as certain hand positions that allow cover a group of notes (keys) so that each of the fingers remains in place (N. Rizol. “Principles...” p. 199).
This definition contains the entire practical meaning of “positional” playing the button accordion:
It (“positional” game) makes it possible to memorize individual musical patterns.
“Expands the scope of activity of automatism, which underlies performing technique” (Ibid. p. 54).
There are more opportunities for choosing a rational and artistically justified fingering.
It has a beneficial effect on the development of fingering discipline, which is learned not in numbers over notes, but in the child’s thoughts about the placement of fingers, as a kind of “instrumentation” of a piece. (Ya. Zak. Articles. M. 1980, p. 39).
There are also other difficulties due to which most methodological manuals presented as the main four-finger system of play, with occasional use of the first finger.
G. Stativkin (and he is not alone) considers it advisable to immediately form a modern style of performance. Here is his version of the initial moment of sound production: “On the right keyboard, sounds are produced by simultaneously pressing the thumb and middle finger (first + middle). The children aptly called this technique “playing with the beak.” The proposed method of sound production, in contrast to playing with only the second or third finger, creates a more stable support and, most importantly, perfectly shapes the student’s hand. As a result, the correct position of the right hand is achieved
in the most simple and natural way." (G. Stativkin. Manual... p. 13). And then it turns out that within one position (without adding or transposing) you can learn a lot (in the sense of sound production) and play a lot of good music (see “Note Appendix”).
The ease of mastering the material with the help of “positional” play allows a student already in grades 2-3 to confine himself to rare fingering instructions, and by grades 4-5 to completely dispense with numbers in the musical text. Of course, it is always useful to discuss any fingering problems with the teacher, but the need for petty supervision naturally disappears.
Using “positional” fingering, it is easier to transpose and sight read, and what makes it especially attractive in the initial period of learning is the opportunity to master the simplest types of improvisations.
And finally, in order not to create, albeit temporary, but a serious psychological obstacle to mastering five-finger fingering and production, Yu. Yastrebov recommends listening to the following opinion: “For those who, from the first sounds on the button accordion, develop the skills of interaction of all fingers, the question of using the thumb, perhaps, does not stand up in its entirety in comparison with those who introduce it into the game, having already had sufficient performing experience in four-finger staging.
If for the former, the techniques of using the thumb on the keyboard are the basics, a self-evident action, then for the latter, it is sometimes an insurmountable obstacle that remains for many years “a thing in itself” (Yu.G. Yastrebov, Publishing House, Vladivostok, 1984). , page 88).
Everything that has been said is not a recommendation for action; everyone has the right to agree or disagree with something. Currently, the five-finger version is undergoing “laboratory tests” and it is very important “that as many performers and teachers as possible participate in these tests.” (N. Rizol. “Principles ..." p. 216).
RECOMMENDED READING
Rizol N. “Principles of using five-finger fingering on the button accordion.” Ed. "Soviet composer". M. 1974
Chapky S. “School of playing the elective button accordion” Kyiv. 1980
Semenov V. “Modern school of playing the button accordion.” M. 2003
Akimov Yu. “School of playing the button accordion.” M. 1980
Shulpyakov O. “Technical development of a musician-performer.” M. 1973
Savshinsky S. “The pianist’s work on technique” L. 1968
Belyakov V. and Stativkin G. “Fingering of a ready-made button accordion.” M. 1978
Zach Ya. Articles. M. 1980
Methodical collection “Accordion and accordion players.” Vol. 2. M. 1974
Game in one
positions: 1,2,3 fingers
Game in one
positions: 1, 2, 3, 4 fingers
Game in one
positions: 1, 2, 3, 4, 5 fingers
Introduction……………………………………………………..3
Three main methods…………………………….……………4
Musical abilities and their development…………………...8
Ready-elective button accordion in the initial period of training......15
Fingering in the initial period of training……………....19
Note appendix to the chapter “Fingering”……………….23
For beginning accordion players, one of the problems is the ability to adapt to the instrument. Successful development of technology is unthinkable without the correct choice of student seating and instrument installation. Later in the process musical development students each find their “own” landing, which is associated with their creative individuality. “Hand placement,” like the posture of a future musician, is formed in the process of getting used to the instrument.
This term is usually understood as the movement of the hands, the variability of their different positions during the game. It is known that any action requires physical effort. It follows from this that the free state of the hand can be considered such when it moves freely across the keyboard, using its fingers to find comfortable positions for performing artistic and technical tasks within its capabilities. “The hand should experience physical pleasure and comfort while working, just as the ear should experience aesthetic pleasure all the time.” (N. Medtner). Developing hand freedom is a complex process based on sensations. The student should “feel the hand well” and “feel the weight of the fingers.” The absence of such a feeling will lead to tightness of the hand, which is why the foundation of natural free play movements must be laid in the initial period of training. It is necessary to teach the child to find comfortable movements, listen to his feelings, learn to feel his fingers while playing.
The initial period of learning to play a musical instrument is, as we know, the most important and is considered as the foundation of knowledge and skills that determines the student’s further movement along the path of mastering the instrument. This, in turn, places special demands on the teacher, or more precisely, on his work methodology, on the system of knowledge and skills transferred to the student. It is to the system, which means a certain range of theoretical knowledge and gaming skills in a strict logical sequence from simple to complex. 
Unlike violinists and vocalists, who spend many years training their hands and voice apparatus, accordion players, at first glance, do quite a bit of training. But the correct placement of the gaming machine at the initial stage of training is very important, because the ability to express in performance depends on it. artistic design, avoid jamming the gaming machine, and as a result, give impetus to greater development and improvement of technical abilities. The position of the accordion player consists of three components: landing, positioning of the instrument, and position of the hands.
When working on the landing, you should take into account both the nature of the piece being performed and psychological characteristics, as well as anatomical and physiological data of a musician, especially a student (height, length and structure of arms, legs, body). In accordance with the age and physiology of each student specifically, the instrument itself must be selected, i.e. accordion. Correct fit such that the body is stable, does not restrict the movement of the arms, determines the musician’s composure, and creates an emotional mood.
The correct position is one that is comfortable and creates maximum freedom of action for the performer and stability of the instrument. Of course, rational installation of the instrument is not everything, but the accordion player and the instrument must be a single artistic organism. Thus, the accordion player’s whole body is involved in the performing movements: both the differentiated movement of both hands and breathing (during performance 3, you need to monitor the rhythm of breathing, since physical stress inevitably leads to a disruption in the breathing rhythm). Due to the design features, two movements are required to produce sound - pressing a key and moving the bellows. 
Each school of playing the button accordion, teaching aids talk about the relationship between bellows and sound, its volume. But experience shows that beginning accordion players make a mistake when they forcefully press the key and try to achieve a greater sound without appropriate control of the bellows, which leads to enslavement of the playing apparatus and affects the general psychological state of the body. To properly organize the gaming machine, we must keep this relationship in mind. The advantage of the button accordion is that the independence of the sound from the force of pressing the key saves the musician’s energy.
Modern teaching methods consider performance as a set of conditions for playing the button accordion. These include: landing, instrument installation and hand positioning. In methodological explanations famous schools All three aspects of the production are described in sufficient detail. The authors of these schools write or illustrate with drawings that the button accordion should be slightly tilted forward, since this installation of the instrument ensures the correct positioning of the left hand, in which the 4th and 5th fingers are on the main row. The tilt of the upper part of the instrument body towards the student’s chest, in their opinion, deprives him in the future of the opportunity to use the 5th finger of the left hand on the main and auxiliary rows.
But in the initial period of training, as we know, we have to solve completely different problems, for example, mastering the right keyboard, which is associated with the development of its conceptual representation. Therefore, the installation of the tool at the initial stage should be subordinated to solving these problems, and not to the future use of the 5th finger of the left hand. When the time comes to use it, the student will already be able to install the button accordion with a forward tilt, since by that time he will have learned to tactfully find the required 4 keys. But when he just begins to master the keyboard, he sometimes has to look at it, and for this he needs to install the button accordion with a slight inclination of the upper part of the body towards the chest.
This temporary digression will not prevent you from using the 5th finger of your left hand on the main and auxiliary rows in due time. The swim coach uses life-saving devices during the initial training period, knowing that he will abandon them when they only get in the way. Therefore, any temporary retreat is possible if it is beneficial, and in this case it is even necessary, since it frees the student from artificially created difficulties and, therefore, contributes to faster mastery of the keyboard. It can be argued that the teacher is obliged to coordinate the movements of the student's fingers on the keyboard, thereby helping him develop a tactile way of hitting the keys in the desired sequence. Yes, this is true, but the teacher can do this only twice a week, and the rest of the time the student studies independently and is deprived of the help of a mentor. 
And since he finds himself in the position of controlling himself, why not allow him to peek at the keyboard? You just need to be careful that this spying does not turn into a habit of constantly looking. The following must be added about hand placement. As a rule, almost all beginning accordion players try to hold the fingerboard with their right hand while squeezing the bellows, which can lead to negative consequences if attention is not paid to it in time. Most often, the reason for this is the large shoulder straps of the accordion on which the student practices at home. Therefore, it is necessary to take measures in advance to eliminate any kind of interference, the elimination of the consequences of which only slows down the learning process and overloads the student’s attention.
In this case, we must proceed from the position that there is no fixed position of the right hand (even in positions), except for its natural state during the game (in the 5th dynamics). This means that the hand is in a position that excludes bending in the wrist joint as a necessary condition for freedom and natural movement of the fingers and hand at any time and in any direction.
The latter, in turn, depends, firstly, on the fingering (how logical it is, that is, how convenient it is); secondly, from the correct coordination of the movements of the fingers and the movements of the hand, and if necessary, the whole hand; thirdly, from maximum use of the possibilities of changing tension and relaxing muscles; fourthly, from the match between the speed of the game and the possible speed of the student’s thinking (that is, how easily and freely the student can imagine and control his actions at a given pace).
There are practically no other factors leading to stiffness and constriction of the performing apparatus (if you do not take into account, for example, physical fatigue, especially of the left hand). The listed factors, of course, are closely interrelated, and dividing them into main and secondary ones makes no sense at all. Another thing is selecting a presenter. In our opinion, this factor is the fourth, since the reliability of action control and, as a consequence, the accuracy of execution depend on it.
You can control incorrect fingering or incorrect coordination, but you cannot act correctly uncontrollably, unconsciously. IN in this case This refers to the principle of the unity of consciousness and activity, formulated by psychologists. Violation of this unity leads to disruption of activity. If a student acts faster than he can imagine and in full control this action, then stiffness appears and, as a result, tightness. That is, ease and freedom of action at a certain pace is a consequence of ease and freedom of thinking (consciousness).
An unbearable pace creates stiffness in the consciousness, in mental activity (internal constraint), which, in turn, causes constraint in the performing apparatus (external constraint), and as a result - tightness. In this regard special attention requires the process of changing tension and relaxation of muscles, because the state of the performing apparatus also depends on this. Psychologists have found that the mere intention (idea) of making this or that movement already causes muscle tension, although imperceptible to the person himself. Therefore, when playing the button accordion, tension in the muscles involved in certain movements is a natural and necessary consequence.
But it is also known that constant muscle tension leads to fatigue. Moreover, stopping movements (for example, during a short pause) does not relieve muscles from tension. The secret is that the player’s attention is immediately focused on imagining the next movements, which are carried out with the participation of the same muscles. This is the cause of constant tension, leading to stiffness and tightness.
Therefore, in order to free the muscles from tension, it is necessary to switch the player’s attention to imagining a movement that would cause tension in completely different muscles, giving a short “respite” to the tense muscles. Such a movement could be, for example, removing the fingers from the keyboard along with the hand by moving the forearm with an outer bend in the wrist (the hand, and then the relaxed fingers, seem to follow the forearm). Thus, periodic release of the muscles protects them from constant tension, and therefore from stiffness and tightness.
To carry out such movements, you can use a pause, a caesura between phrases, etc. That is, the phrasing of a musical piece determines the “phrasing” of the muscles (alternating tension and relaxation) or, in other words, the “breathing” of the muscles should be a reflection of the “breathing” of the music being performed plays.
In conclusion, it should be emphasized that demands on the student based on the final goal without taking into account a gradual approach to it are not always justified (and often even turn out to be harmful). Therefore, there is no need to demand everything at once, although in a sense this is true. Everything is what is needed for this stage of training. Indeed, in the initial period of learning to play the button accordion, the main thing for the teacher should not be the student’s performance, but the correct formation and consolidation of performing skills - individual movements, techniques, actions, etc., and a solid assimilation of the theoretical knowledge necessary for this.
Denkova Z. F.
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