The formation of bellows skills and their organic use in artistic material is one of the most pressing issues, primarily in the training of beginning accordion players. Often the playing technique is at a low level, which comes down to only a primitive sound on the button accordion. Even the most unpretentious performance on the button accordion causes motor tasks that require certain finger skills. The fur does not attract attention to itself - the main thing is to press the key in the desired rhythm. Often, a student already has a good grasp of keyboards, his finger activity is noticeable, but his proficiency in bellows lags behind.
A particularly pressing problem is the expressiveness of performance on quiet sonorities, in the nuances of the piano, where the most technically complex active control of the bellows is required. The smallest gradations of bellows tension force on short sections of musical fabric, the ability to instantly stop it and start a new movement - all this, in organic combination with the movement of the fingers, creates the basis for masterful use of bellows.
Let's consider the technique of guiding the bellows when thinning the sound, as well as the technique of changing the direction of the movement of the bellows - unclamping, squeezing. Without this, it is impossible to perform even the simplest exercise or piece with high quality. We will consider their formation in four interrelated areas of the teacher’s work:
1. Development of the student’s hearing;
2-3. Knowledge and rational use constructive and acoustic capabilities of the button accordion;
4. Technology of developing skills and their application in artistic material.
Technique of fur handling and sound thinning
Sound shaping as the most important means of expressive performance. Every teacher who works professionally on sound knows perfectly well how difficult it is for a student to master even the most basic skills of sound production on the button accordion. The success of the efforts will depend on the degree of development of the student’s auditory concepts, the active work of the ear during the game, and the desire to translate the imaginary sound into the real one as accurately as possible. It is this nature of hearing that will contribute to the development of the motor side of the skill, establishing the relationship between hearing and motor skills.
Everything related to fur science, one should not think that fur control occurs on an intuitive level, obeying the auditory idea. It is important to determine the degree and nature of control over motor sensations. But excessive control can be no less harmful than a game left to its own devices. Only the consequences will be different. In the first case, there is stiffness and unnatural movements. In the second, the student is untrained and does not possess basic skills in fur science. It is necessary to draw the student's attention to the feeling of the degree of tension of the bellows, the smoothness of its movement when filing the sound, the contact of the left hand with the cover of the half-body, the correct trajectory of the bellows and rational landing.
The starting points in the technology of developing fur skills are: landing, adjusting belts, installing tools. Particular attention should be paid to the adjustment of the working belt. A belt that is too tight will restrict the movements of the left hand; a loose belt will not allow the student to perform any of the techniques or methods of controlling the fur efficiently. The adjustment of the right belt determines the control of the bellows for expansion, and the left - for the stability of the instrument when playing for compression. You should choose a chair that matches the student’s height. Practical mastery of the basic skills of fur science begins already in the first lessons. Before the student picks up the button accordion, the teacher asks him to imagine that in his left hand he has a pencil, with which he must draw a horizontal line slowly and smoothly. Making the first sound on the button accordion is an event for the student.
When mastering fur handling techniques, it is better not to distract the student’s attention with simultaneously assigned tasks for the fingers. An essential point is the student’s awareness of the fact that the change in dynamic level when playing the button accordion depends on the nature of the bellows, the degree of its tension, and not on the density of the carcass. Concepts such as the degree of tension of the fur, the intensity of its conduct, tense, more accurately orient the student to the nature of the upcoming actions. At the same time, hearing controls the movement of sound in space - its “approach, distance”, even sound. Dim – a rocket flying into space. Cresc – approaching train.
Changing the direction of movement of the fur - unclamping, squeezing
The most important role in developing fur handling skills is developing the skills of technically changing the direction of its movement. First of all, this is the difference when playing with compression and release. For little beginning accordion players, controlling the bellows is associated with noticeable physical effort. This happens due to the weight of the left half-hull. Due to the position of the instrument, it is shifted to the left, and the left half-body is located outside the accordion player’s left leg, so when you press any key on the right keyboard, the instrument will sound like the bellows will diverge under the gravity of the left half-body. This feature greatly facilitates the implementation of such a method of driving the fur as a jerk.
When playing open, there is less air consumption - the valves are attracted by air to the deck, while when playing compressed, they are repelled (the difference is especially noticeable when playing on f). When putting fur changes in plays, you need to take this into account.
Stability in the fit, naturalness and ease are more noticeable when playing with the release. It is not uncommon to observe a shift of the button accordion to the right. Let us pay attention to such a feature of the button accordion as differences in the elasticity of the key stroke. When playing with compression, the valves are attracted by air flow to the deck, to squeeze - they push off from it. This feature is important in the formation of subtle touch sensations and some episodes in which quick and easy finger technique and squeezing play are necessary.
MBU DO "DSHI" MO "Sengileevsky district"
Methodological report
“Technique of bellows playing on button accordion”
Prepared
accordion teacher T.N. Sleptsova
Krasny Gulyai village
2016
Associated with the movement of fur the most important features sound formation on the button accordion – melodiousness, breadth of “breathing”, dynamic flexibility, etc. These potential capabilities of the instrument determine the main direction of the performer’s (student’s) work in the field of sound production - achieving a melodious, expressive sound. In-depth work at all stages of education should be devoted to solving this important problem.
Smooth non-stop driving of the fur, soft and precise change of its direction
Reproduction of metric pulsation;
Expressive pronunciation of metrical pulsation;
expressive pronunciation of dynamic contrasts, maintaining sufficient tension in the piano, melodiousness in the forte;
Convincing execution of crescendo and diminuendo - a consistent increase and such a gradual decrease in sonority, and the ascending and descending waves should be carried out both by changing the dynamics within each duration, and in another way - terrace-like (stepwise), with the internal dynamic evenness of each individual step of the dynamic ladder;
Sound shaping, performing caesuras and dynamic effects (accents, sforzandos);
Diverse pronunciation of the main and minor elements of a musical text.
The formation of bellows skills and their organic use in artistic material is one of the most pressing issues, primarily in the training of beginning accordion players. Often the bellows technique is at a low level, which comes down to only a primitive, straightforward supply of air to the voices of the button accordion. Even the most unpretentious performance on the button accordion causes motor tasks that require certain finger skills. The fur does not attract attention to itself - the main thing is to press the key in the desired rhythm. Often, the student already has a good grasp of keyboards, his finger activity is noticeable, but his mastery of the keyboard lags behind.
The problem of expressive performance on quiet sonorities, in the nuances of the piano, where the most technically complex, active control of the bellows is required, is especially relevant. The smallest gradations of the tension force of the bellows on short sections of musical fabric, the ability to instantly stop it and start a new movement - all this, in organic combination with the movement of the fingers, creates the basis for masterful mastery of sound.
It is in playing the piano that the technical costs in the bellows technique are most noticeable, since the sound immediately becomes inexpressive - the music, the accordion, the performer seem gray, faceless, lifeless. Of the other, most common shortcomings in the bellows technique, the most noticeable in the initial period of training are such as the wide amplitude of its conduct, the inability to extinguish the sound for short durations, the lack of gradualism in crescendo and diminuendo. The low technical level when changing the direction of movement of the fur is most often expressed in large caesuras, a change to sounding notes, differences in dynamic levels. Let's consider the technique of guiding the bellows when thinning the sound, as well as the technique of changing the direction of movement of the bellows - unclamping, squeezing. Without this, it is impossible to perform even the simplest exercise or piece with high quality.
Sound shaping as the most important means of expressive performance. Every teacher who works professionally on sound knows perfectly well how difficult it is for a student to master even the most basic skills of sound production on the button accordion.
The success of the efforts will depend on the degree of development of the student’s auditory concepts, the active work of the ear during the game, and the desire to translate the imaginary sound into the real one as accurately as possible. It is this nature of hearing that will contribute to the development of the motor side of the skill, establishing the relationship between hearing and motor skills.
Everything related to fur science, one should not think that fur control occurs on an intuitive level, obeying auditory ideas. It is important to determine the degree and nature of control over motor sensations. But excessive control can be no less harmful than a game left to its own devices. Only the consequences will be different. In the first case, stiffness and unnatural movements (especially among the most diligent students who strive to accurately fulfill the will of the teacher), in the second - the student’s lack of training, lack of mastery of basic skills in fur science. It is necessary to draw the student’s attention to the feeling of the degree of tension of the bellows, the smoothness of its movement when filing the sound, the contact of the left hand with the cover of the left half-body, the correct trajectory of the bellows and rational landing.
The starting points in the technology of developing fur skills are: landing, adjusting belts, installing tools. Pay special attention to the adjustment of the work belt. A belt that is too tight will restrict the movements of the left hand, while a loose one will not allow the student to perform any of the techniques or methods of controlling the fur efficiently.
The right shoulder strap is adjusted so that the bar rests against inner part thighs of the right leg. The left shoulder strap is tightened after the right one is adjusted and the position of the button accordion is fixed. The adjustment of the right belt determines the control of the bellows for expansion, and the left - for the stability of the instrument when playing for compression. You should choose a chair that matches the student’s height (legs should be bent at the knees at a right angle). Practical mastery of the basic skills of fur science begins already in the first lessons. Before the student picks up the button accordion for the first time, the teacher asks him to imagine that in his left hand he has a pencil, with which he must draw a horizontal line slowly and smoothly. If necessary, you can do this several times until the movement is correct. Making the first sound on the button accordion is an event for the student. It is very important to create a classroom environment appropriate to the significance of the moment. It’s good to talk in a few words about the structure of the button accordion in its part, which is associated with the formation of sound. There must be silence (let us remember the wonderful words of Medtner - “to draw sounds with the ear from the deepest silence”). Thus, from the very beginning, the quality necessary for acquiring various skills in sound production begins to form.
When mastering fur handling techniques, it is better not to distract the student’s attention with simultaneously assigned tasks for the fingers. An essential point is the student’s awareness of the fact that the change in dynamic level when playing the button accordion depends on the nature of the bellows, the degree of its tension, and not on the density of the carcass.
In the playing of novice button accordion players, one has to observe a noticeable difference in the quality of performing various technical techniques when playing with the release and compression. The equalization of levels in a student’s technical development when playing with open and squeeze will depend to a large extent on how much the teacher manages to develop the student’s ear. Hearing is the foundation for the formation of all sound production skills. All work can be controlled primarily through hearing. In order for the ear to be “demanding”, the following method can be applied: the student masters a certain technique when playing with a squeeze; having achieved the desired sound result, he begins to master the same technique when playing with a squeeze. The goal is to achieve the same sound as when playing open-handed. Any button accordion player can play without much difficulty. own experience see how much easier it is to play marked, accented sounds,sfthose. perform methods such as jerking.
When playing with a spreader, there is less air consumption - the valves are attracted by air to the deck, while with a compression - they are repelled (the difference is especially noticeable when playing onf). When putting fur changes in plays, you need to take this into account.
Stability in the fit, naturalness and ease are more noticeable when playing with the release. It is not uncommon to observe a shift of the button accordion to the right. Let us pay attention to such a feature of the button accordion as differences in the elasticity of the key stroke. When playing with an unclamp, the key stroke is more elastic than when playing with a squeeze. On expansion - the valves are attracted by the air flow to the deck, on compression - they are repelled from it. This feature is important in the formation of subtle touch sensations and some episodes in which a quick and easy finger technique is needed to play with squeeze. This feature of the squeeze game can be considered an advantage, because one of the technical principles is observed - economy of movements.
Playing the squeeze significantly relieves the pressure of the right belt on the shoulder, which helps free the right hand. It is known that a tight right belt constrains and limits the freedom of the right hand. This happens because the invoice load on right hand noticeably more than on the left.
By requiring the student to accurately perform a bellows change, the teacher solves not only the problem of developing this skill. How much more confident the student feels in a play with a marked and learned change of bellows. Confidence, and with it the accuracy, stability, and quality of the game, is explained by the fact that with a competent change of bellows, both the means of expression (phrasing, articulation, dynamics) and the specific differences in the game of expansion and compression are taken into account, as well as individual characteristics and the level of technical development of a particular student, the quality of the instrument he plays. There is no doubt that a student who plays, for example, a passage, each time in the same direction of the bellows, automates its execution faster and more firmly than one who does not think about the problems without putting down the bellows.
Let's consider using the skills of thinning sound and changing the direction of movement of the bellows - unclamping, squeezing.
Knipper, "Polyushko-field". The student’s attention should be drawn to ensure that abrupt accompaniment chords do not lead to shuddering of the accordion body or jerking of the bellows, which will inevitably disrupt the smooth flow of the melodic voice. It is advisable to play the entire motive that concludes the piece on one movement of the bellows - squeezing. If this is not possible, then change the fur before the last “salt”, which will allow you to maintain naturalness in the articulation of the motif. It is important to achieve gradual thinning, complete dissolution of sound in silence. The sound is completed by stopping the bellows, followed by a smooth removal of the fingers (fur articulation).
In Bach's "Minuet" the structure is choric, which makes it appropriate to change the bellows between motives. With such a change of fur, both phrasing moments and supporting beats are emphasized. It is important to achieve even dynamics when the fur is taut. The milling with fur here is minimal on the B sounds that complete the motivesb and re.
Used methodological literature:
V.I. Petrushin. "Musical Psychology".
V.I. Renzin, Honored Worker of Culture of Russia, Associate Professor at UGF.
M.A. Umansky, senior lecturer at UGK
“Current problems of history, theory and methodology of musical performing arts.”
I. Purits. "Methodological articles on learning to play the button accordion."
Govorushko Methods of learning to play the folk instruments
“FORMATION AND DEVELOPMENT OF FUR MANAGEMENT TECHNIQUES IN WORKING WITH STUDENTS IN THE BAYAN CLASS”
Introduction
Motor-game methods of controlling bellows on the button accordion
Correct fit
Correct placement of the instrument
Peculiarities of the accordion player's left hand
Fur handling technique
Ways to change the movement of fur
Fur distribution
Methods of fur science
Conclusion
References
Introduction
In his book “The Art of Playing the Accordion” Friedrich Lips great attention focuses specifically on issues of fur ownership. As he puts it: “Fur performs the function of lungs, “breathing life” into the work being performed.” Expressive sound is the foundation artistic performance musical work. Consequently, the performer’s efforts should be aimed not only at developing finger fluency, but also at forming an expressive sound.
The following are associated with fur science: critical issues performing techniques on the button accordion and accordion, such as sound production and sound engineering.
In terms of their structure and sound production, the button accordion and accordion are classified as keyboard-reed wind instruments. The process of sound formation on these instruments is formed when two conditions are met: the movement of the fingers that control the keys, and the left hand that controls the movement of the bellows. Pressing a key opens the valve, and the movement of the bellows creates a flow of air onto it, which vibrates the metal reed (or voice) and thereby makes it sound.
Among the most common shortcomings in the bellows technique are: jerking of the bellows, incomplete sound, wide amplitude of bellows driving, lack of gradualness in crescendo and diminuendo.
The reason for these shortcomings is the lack of necessary auditory control on the part of the student.
Thus, we can confidently say that the formation and development of the student’s technique of fur handling is actual problem in accordion-accordion pedagogy, work on which must begin from the very first lessons.
Motor-game control methods
bellows on button accordion and accordion
Where should work with a student begin to master the technique of fur handling? This question can be answered with confidence that the formation of fur control techniques begins with mastering motor-game methods of fur control, which are associated with rational seating of the student, stable placement of the instrument and correct position of the left hand.
Correct student seating position, as F. Lips emphasizes, must have three points of support: support on the chair, support on the feet, and support in the lower back. You need to sit at the front of the chair. The height of the chair should ensure that your legs are positioned at right angles, slightly apart, with your right leg slightly in front of your left leg. The musician's body should be slightly tilted forward.
Setting up the instrument should ensure the student’s comfort and freedom of his play movements. The shoulder straps must be carefully adjusted, with the right strap being slightly longer than the left, which will allow the lower part of the right half-body to rest on the right thigh and create stability for the instruments when the bellows moves to compress. Too loose straps cause the instrument to become unstable (swinging) and cause an instinctive lifting of the shoulders. In turn, tight belts can lead to the button accordion being in to a greater extent hanging from them rather than kneeling. The bellows chamber should stand firmly on the left hip, which allows the left body of the instruments to move freely without difficulty, while it is important to ensure that when opening and closing the bellows, the left leg does not rise and the instruments do not move in the direction of movement of the bellows.
Fur managed left hand, physical activity which is extremely large due to direct play on the left keyboard. The length of the left work belt should be adjusted so that the hand does not dangle between it and the left side of the body. A belt that is too long forces the performer to bend the left wrist, while a belt that is too short will restrict wrist movement. Thus, with a complete feeling of freedom, the left hand must be in constant contact with the belt and the half-body cover, which makes it possible to discreetly change the bellows (without a backlash-pause of the push) and ensure the finest thinning of the sound.
When opening the bellows, the main point of support of the left hand is the wrist, and when squeezing, the wrist and forearm. The technology for releasing the bellows is carried out by gradually straightening the left arm by extending it at the elbow joint. Having brought the fur to approximately the middle of its stretch, upper part arms, that is, the shoulder stops moving, and the second half of the bellows is moved to the end with only one forearm, thus, the arm straightens at this time, unbending at the elbow joint. When holding the bellows for compression, the sequence of movement of the left hand will be reversed.
Fur technique
In terms of its significance, fur science can be compared with the breathing of a singer or with holding the bow when playing the violin. All the versatility dynamic shades on the button accordion and accordion, directly depends on the nature of the air supply to the bellows. Therefore, every nuance and even its subtlest shade must be reflected by the appropriate movements of the fur.
The components of fur technology are:
- species driving the bellows – fully stretching the bellows to the limit, playing with the “short bellows”;
- techniques maintaining the fur - the fur is constantly tense and the fur is pulsating;
- ways bellows driving – smooth driving, acceleration and deceleration of movement, bellows jerk, dotted driving, bellows tremolo, vibrato.
Thus, in order for a student to master the technique of fur handling, the teacher needs to concentrate on solving three main tasks:
– teach proper handling and correct change of direction of movement of the fur;
– teach proper distribution of fur, that is, alternating expansion and compression of fur according to division musical speech;
– teach in various ways conducting fur.
The success of solving these problems depends both on the degree of desire of the student himself to master the technique of bellows handling, and on his auditory control and the development of motor skills of the left hand.
Fur handling techniques
the bellows is constantly tense (continuous) in which there are no jolts, jerks, “screams” or forcing of sound, which helps to feel the speed of the bellows movement, the smoothness and evenness of its movement;
the bellows is pulsating, when individual harmonies are performed with some stop in the movement of the bellows.
The variety of plays requires the use of a specific method of conducting fur. So, for example, in works with a wide, melodious sonority or with a polyphonic texture, the bellows is in constant tension.
When playing acutely rhythmic or syncopated music, which necessitates the isolation of individual chords and harmonies, the bellows should be pulsating.
There are also works where these two techniques of playing with fur are used together.
In each specific case, it is necessary to look for the best option for the movement of the fur in accordance with the artistic content and nature of the work.
Ways to change fur movement
In the initial period of learning, changing the direction of movement of the fur seems to the student to be a simple and understandable action, but later, with increasing artistic tasks, this technical technique becomes one of the most difficult technical tasks for him.
Correct change of bellows is one of the most important conditions for competent performance of musical works. Yu. Akimov in his textbook“The School of Playing the Accordion” describes two ways to change the movement of the bellows:
Noticeable to the ear;
Invisible to the ear
An audibly noticeable change in fur movement is used:
When it coincides with the beginning of motives, phrases, sentences and others structural elements, which in turn contributes to the natural division of the melody and “taking the breath”, but an important condition is the inadmissibility of bellows jerking;
When you need to highlight emphasis, syncopation or climax.
An aurally imperceptible change in the movement of the bellows is important when performing imitative polyphony and works with very large phrases or sustained sounds. In such works, several options for changing the movement of fur can be used:
Before the downbeat of a bar;
In a moment of pause;
Before the climax;
It is important to note that it is the imperceptible change in the movement of the bellows that makes it possible not to disrupt the development of the musical idea of the work.
With a sustained sound, an imperceptible change of bellows is achieved provided that before and at the moment of changing the direction of the bellows, one, unchanged position of the hand under the left belt is maintained.
The student's mastery of noticeable and imperceptible changes in fur movement are important components of fur control techniques. It is the skillful change in the direction of movement of the bellows that is one of the main qualitative indicators of the performing culture of an accordionist and an accordionist.
To achieve the correct change in fur movement, the student’s serious attention must be paid to the following:
During the change of movement of the bellows, the musical thought should not be interrupted;
Do not allow a sharp involuntary jerk during a short moment of turning the bellows
Fully maintain the duration of the sound without allowing it to shorten;
Maintain rhythmic evenness in playing small notes, without speeding up or fussiness;
The dynamics after changing the fur should not change if there is no dynamic contrast and not disrupt the progression in diminuendo and crescendo.
Fur distribution
The distribution of fur is associated with the solution of two problems: the first is to correctly determine the location of the change in the direction of movement of the fur in the work;
the second is to master the control of bellows tension during expansion and compression.
As a rule, typical mistakes in the distribution of fur during the performance of works are:
There is not enough bellows to squeeze to accurately complete the musical construction. The first reason was that the fur was weak; reason two - the bellows was “squeezed” into compression;
The bellows expands to the limit due to the high consumption of air, as a result, dynamic development is disrupted and an unjustified jerk of the bellows to compress occurs;
The bellows is changed before the end of phrases, which distorts the natural “breath” of musical speech;
Inability to suppress sound for short durations.
These errors arise due to the student’s weak auditory control and insufficient development of motor skills of the left hand. The skills of fur technology require the performer to make precise calculations in controlling the fur. When playing, it is important to skillfully use the air supply in the bellows, that is, to achieve the necessary strength and sound quality while using the air in it sparingly. The bellows should not be brought to the extreme limits of expansion and compression to avoid lack of air and shocks when changing the bellows. In other words, the student must learn to “feel the fur.”
Methods of fur management
The main methods of fur handling include: smooth driving; acceleration or deceleration of fur movement; fur jerk; bellows tremolo; vibrato; dotted lead.
Smooth guidance to expand or compress, is achieved by a constant speed of movement of the bellows, due to the constant equal force of the left hand, which creates a constant level of pressure of the air stream on the reeds. Smooth guidance is due to the need to obtain an even, identical sonority, which is possible at all basic dynamic gradations from pp to ff.
Speeding up and slowing down the movement of the fur used when it is necessary to obtain a uniform increase or decrease in sound. The dynamic nuances of crescendo and diminuendo on the button accordion and accordion are achieved precisely by resorting to this method of bellows playing.
Fur Rush performed with a sharp short movement of the left hand. A jerk with the bellows is necessary when picking up or removing a sound, consonance with an accent, for a vivid display of the climax, performing syncopation, subito forte, sforzando, marcato strokes, martele. Usage this technique possible at a wide variety of dynamic sound levels.
Dotted lead fur- driving the bellows in one direction, that is, to expand or compress, which alternates with its complete stop. This method of conducting with bellows is used when it is necessary to perform an accented sequence of several sounds or harmonies. The ending of the sound will be performed either with the bellows only, or with the bellows and fingers at the same time. This method Mechology is used when playing sharp rhythmic or syncopated music, which necessitates the isolation of individual chords and harmonies.
Tremolo bellows– fast, periodic change of bellows modes “unclamp” - “squeeze” on sound or consonance. In this case, the beginning and end of the sound is carried out by the bellows, since the fingers hold the necessary keys pressed during this period of time.
Vibrato- frequent vibration of sound. Translated from Latin as “trembling”. There are many options for performing vibrato, both with the right and left hands. The vibrato performed by the left hand is directly related to the movements of the bellows. There are two options for fur vibrato: the first is rapid vibration of the palm of the left hand, and the second is light blows with the entire palm on the left half of the body at various points in the keyboard corner.
Successful mastery of fur handling techniques significantly enriches your arsenal expressive means button accordion and accordion. Thanks to the bellows, you can take full advantage of the sound capabilities of these instruments. Rational posture, stable positioning of the instrument and correct position of the left hand are necessary conditions for successful control of the bellows. The development of fur handling techniques must begin from the first lessons and continue at all stages of training, actively using the student’s auditory control and his motor skills.
Mastering the bellows technique contributes to the formation of the student’s performing skills, expressive performance, vivid disclosure of the content of a musical work, as well as successful creative activity future musician.
References
Akimov, Yu. School of playing the button accordion. Textbook allowance. – M.: Publishing house. Soviet composer, 1989.
Gvozdev, P.A. Principles of sound formation on the button accordion and its extraction / P. Gvozdev. In the collection: Bayan and accordion players - M.: Soviet composer, 1970.
Egorov, B. General questions performances when learning to play the button accordion / B. Egorov. In the collection: Bayan and accordion players, Issue 2. – M.: Soviet Composer, 1974.
Lips, F. The art of playing the button accordion. – M.: Muzyka, 1998.
Lushnikov, V.V. Accordion school. Textbook allowance – M.: Publishing house. Soviet composer, 1987.
Onegin, A. School of playing the button accordion. Textbook allowance – M.: Muzyka, 1967.
Poteryayev, B.P. Formation of the accordion player's performing technique: monograph / Chelyab. State acad. culture and arts. – Chelyabinsk / B.P. Poteryayev, 2007.
“Techniques for mastering modern bellows techniques by accordionists”
Kudasheva M.I.
Accordion teacher, secondary secondary school aesthetic education No. 8, Petropavlovsk, North Kazakhstan region, Kazakhstan
Modern level The art of playing the button accordion requires the wide use of various bellows techniques. The arsenal of compositional means is replenished with many new, specific techniques, the most striking of which are associated with changing the direction of movement of the fur. But without special preparatory work muscle tightening may occur in the performer, which will ultimately lead to loss artistic expression works. Not every button accordion player can clearly imagine the essence of a technical task, understand certain difficulties of the technique, or independently compose the necessary exercises. But still main reason failures lie in inconsistency, when complex techniques are mastered before simple (basic) ones. The main techniques for playing with fur are squeezing and squeezing. All others are built on various combinations expansion and compression.
One of the most important qualitative indicators of performing culture is the skillful change in the direction of movement of the bellows (i.e., change of bellows). It must be remembered that the musical thought should not be interrupted while changing the bellows. In practice, it is not always possible to change the fur at the most convenient moments. In polyphonic pieces, sometimes you have to change the bellows even on a drawn-out tone. In such cases it is necessary:
listen to the duration of the note before changing the bellows to the end;
change fur quickly, avoiding the appearance of caesura;
ensure that the dynamics after changing the bellows do not turn out to be less or, more often than not, greater than necessary according to the logic of the development of music.
In academic music making, fur control should be strict; when unclenching, the fur is moved to the left and slightly downward. Some accordion players “breed the bellows”, describing the left half-body as if wavy line and leading it to the left - up. Besides the fact that it looks aesthetically unattractive, there is also no point in lifting a heavy semi-hull. It is better to change the fur before the downbeat, then the change will not be so noticeable.
In works (in adaptations folk songs) variations are presented in sixteenth durations - the change of bellows is heard not before the downbeat, but after it. Probably, the accordion player is keen on bringing the passage to its logical peak, forgetting that the downbeat can be extracted by jerking the bellows in the opposite direction, while avoiding the subsequent unnatural gap between sixteenth notes.
The effort required when working with bellows sometimes, unfortunately, causes pinching of the arms, neck muscles, or the entire body. The accordion player needs to learn to rest while playing; When working some muscles, for example, to unclench, you need to relax the muscles that work to compress, and vice versa. Statistical stress on the gaming machine during execution should be avoided.
Successful mastery of bellows techniques largely depends on the correct positioning and operation of the accordion player’s left hand. The positioning and work of the accordion player’s left hand are inextricably linked. While working with the bellows, the accordion player should feel the three main points of support of the left hand:
left work belt with forearm wrist;
grounds palmar muscles with the front edge of the left half-body of the button accordion;
forearm with the posterior edge of the lid of the left half-corpus.
The left hand of the accordion player is bifunctional: performing one of main tasks in sound production (playing bellows), the performer also controls the work of the fingers on the left keyboard.
Harmonists have long been famous in Rus' for their masterly playing of bellows. Some types of harmonics produced different sounds when pressing a key when opening and closing them. Playing such instruments required great skill from the performers. There was an expression “shake the bellows.” By shaking the bellows, harmonica players achieved a unique sound effect that anticipated the appearance of the modern bellows tremolo (Bellows shake). Oddly enough, for a long time in the original accordion literature, composers almost did not use specific techniques of playing with bellows - this richly expressive color. The first attempts to use bellows tremolo in Concert No. 2 by F. Rubtsov, Concert Piece by S. Konyaev, and in Saratov Percussion by V. Kuznetsov. In the works of Zolotarev, as well as in the works of others contemporary composers– various techniques for playing with fur.
Tremolo. This technique is most common. It is performed by fast, uniform alternation of expansion and compression.
While working on the tremolo, it is necessary to constantly monitor the feeling of freedom, looseness of the left hand and relieve static tension - only then will long-term tremoloing be possible. The instrument should rest firmly with its fur on the left thigh and the neck resting on the right thigh. To do this, the shoulder straps must be adjusted accordingly. It is best to tremol at almost full compression with a small amount of bellows, because with a more extended tremolo bellows it is difficult to play. The best effect is achieved by moving the left hand not left - right (unclamp-squeeze) as it seems at first glance, but left - down (unclamp) and right - up (squeeze), i.e. diagonally.
You should work at a slow pace:
1) take the first chord, open V. At the moment of opening, feel only the minimum hand force sufficient for the desired dynamics. If there is any static tension in the performer's hand or body, then it is necessary to get rid of it. After unclamping, remove all efforts, feeling completely relaxed;
2) make a squeeze G. control the effort and relaxation of the hand, as when unclenching (repeat exercise 1.2 several times);
3) play the main tremolo cell - expansion/compression (VG). Perform the VG formula several times, resting between cells for 2-3 seconds (i.e. feeling completely relaxed). But looseness should concentrate in itself the readiness to perform the next cell - VG;
4) play VГVГ, slightly emphasizing the first beat. Repeat many times with pauses after the 4th beat, then go to eight sixteenths VГVГ, VГVГ;
5) play the tremolo at an average tempo, slightly emphasizing the 1st beat (in this case, the 2nd, 3rd, and 4th beats will be played as if by inertial movements)
Expend only the necessary effort, generally feeling relaxed. As soon as a moment of static tension or fatigue appears, stop tremolo and return to it after rest.
Fur triplets. This technique is performed by alternating release and squeeze (the release by removing the hand is divided into two parts).
If the piece requires the performance of triplets over a long period, then the bellows gradually begins to diverge, since the release takes 2 beats, and the compression - one. In order to keep the fur assembled for as long as possible, you cannot play all three beats in this fur technique with equal force. The first beat (unfolding) sounds the most powerful. The 2nd beat in compression sounds with almost the same force, equalizing the air flow and returning the bellows to its original position. The 3rd beat should be performed least forcefully (unclamp). To more fully master the virtuoso playing of the bellows, it is useful to learn how to perform these triplets in the reverse way: squeezing - unclenching - squeezing.
Ricochet. This technique was first used in the finale of Vl. Zolotarev’s Second Sonata. The most characteristic moment when performing a ricochet is the uniform alternation of strikes with the upper part of the fur and the lower one. Starting position for mastering ricochet: slightly spread the fur and, without pressing the keys, alternately close its upper and lower parts. The fur is collected.
1 element – opening with the upper part of the fur. The lower part is closed.
2nd element – general direction compressive movements of the fur; the upper part contracts, and the lower part diverges at this time. The second part lasts until the upper part of the fur closes. At the moment of closure, the 3rd beat begins.
3rd element – compression by the lower part of the fur (the upper one is closed).
4th element – opening of the fur with the upper part after closing the lower part (the moment of closing fixes the beginning of the 4th beat).
During the execution of this entire cycle, the fingers are not removed from the keys.
If the rebound needs to be performed several times in a row, then after the 4th beat the hand is removed, the chord is taken again and a new cycle begins. It turns out that the 4th beat of the previous cycle and the 1st subsequent one are performed by unclenching the upper part of the bellows, which is divided by removing the hand. When playing a ricochet at a fast tempo, the left hand moves more up and down than left/right (diagonal, as in a tremolo).
There are two types of 3-beat ricochet: with the hand removed from the keys (2,3,4 elements) and without removal (1,2,3 elements).
You can use a rebound of 5 or more parts (not only the upper and lower parts of the fur are used, but also all 4 sides). Various techniques of playing with bellows can be alternated (for example, tremolo and triplets with bellows, etc.).
Techniques of playing with bellows are becoming increasingly popular in the performing practice of accordionists. They significantly enrich the arsenal of artistic and expressive means of the instrument. At the same time, any means should never turn into an end in themselves. All effective techniques for playing with fur should be aimed at achieving a specific figurative result. It should be remembered that when performing fur playing techniques based on the unclamp-squeeze formula, the following must be required:
1) a feeling of lightness and relaxation in the left hand;
2) the left hand should perform diagonal movements: open - LEFT-DOWN
squeeze – RIGHT-UP.
List of used literature:
1. Questions music pedagogy. Issue 6. A. Krupin “On some principles of mastering modern bellows techniques by accordion players.”
2. Issues of methodology and theory of performance on folk instruments. V.A.Romanko “Techniques for accordion players to master the techniques of playing with bellows.”
3. The art of playing the button accordion. F. Lips. Means of articulation.
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