Technical training of an accordion player in a music school.docx - Modern technologies in training accordionists and accordionists (about playing to a soundtrack). Techniques for playing the button accordion and accordion by F. R. Lips Techniques for playing with bellows

30.10.2019

The model of a graduate of a higher educational institution with a specialty in button accordion/accordion is today a well-established, steadily functioning concept, which is accompanied by a specific meaningful “decoding”. Programs for the formation of these specialists are successfully implemented at all levels of music education in Russia. At the same time, the main goal is invariably the training of highly qualified specialists, whose professional qualities are not inferior to musicians of other academic specialties - violinists, pianists, etc. Similar trends dominate throughout the historical development of the button accordion and accordion, predetermine the general desire of musicians to improve their instruments, repertoire, and techniques teaching. Bayanists and accordionists, purposefully mastering the achievements of modern instrumental art, created a new, original musical and performing culture, which includes a full-scale three-stage system of professional education. Nowadays, this system seems to be the optimal form of training specialists in the relevant profile.

According to the above-mentioned graduate model, the process of training bayanists and accordionists is carried out on conditions of complete equality. This applies to all educational components: preparation of programs in the specialty, passing tests, exams, performances at concerts. The principle of equality also determines participation in various festivals and competitions, where, as a rule, there is no division of performers motivated by different keyboard structures. The adopted approach looks quite reasonable and justified, because the button accordion and accordion, in fact, are endowed with an integral complex of artistic and expressive means and ways of influencing listeners. Only a very qualified expert is currently able to distinguish between audio recordings of button accordion players and accordion players. The difference in the structure of the keyboards is felt when playing certain types of textural presentation: some are more convenient for the accordion player, others for the accordion. In general, the artistic effect achieved by these tools looks almost identical. The desire of the accordion performers “offended by accordion players” (note, very few) to demonstrate their own “significance” and “uniqueness” with the help of organized “separate” festivals and competitions, frankly speaking, seems futile and is regrettable. We are talking about an insufficiently deep understanding of the current patterns of development of button accordion performance. Disunity, especially in modern historical conditions, only harms the natural process of evolution of both mentioned instruments.

It should be noted that in the area former USSR Historically, a situation has developed in which the accordion was inevitably assigned the role of a “lagging behind.” In Russia, push-button harmonics were initially widespread and actively developed. Over the years, the primitive “talyankas” and “livenkas” were replaced by the button accordion. Keyboard instruments in our country gained popularity only during the thirties, which was facilitated by the popularization of pop genres. After the release of the movie “Jolly Fellows,” many pianists turned to the accordion. Often, the melodies that the public liked were performed on the right keyboard, without the participation of bass, accompanied by a pop orchestra or ensemble. During the Great Patriotic War, as well as in the post-war period, the accordion and button accordion were in the center of attention of the domestic audience. Arrangements and arrangements of popular songs and dance music were performed on captured instruments brought from Europe and performed by numerous amateurs. Attempts have been made to organize accordion classes in academic institutions. However, after the publication of the Resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the fight against cosmopolitanism” (1949), the mentioned classes were removed from technical schools and colleges. Teaching in this specialty was preserved only in music schools, and the corresponding training programs were focused primarily on the general artistic and aesthetic development of the contingent.

At the turn of the 1950s and 1960s, the accordion was again admitted into the sphere of academic music education. Naturally, in such situations it is always difficult to catch up, especially since accordion performance has been actively evolving for 15 years: instruments were modified, original repertoire was created, many enthusiastic practitioners, inspired by the ideas of the development of folk instrumental art, were involved in the process of forming a three-stage system for training domestic accordionists. Primary and secondary teachers actively shared their accumulated professional experience with each other, captivating each other with new achievements. All this, undoubtedly, seemed very valuable and significant for their students - the younger generation of musicians.

Accordionists were in more difficult conditions, forced to adapt to the actual “lag”. In fact, there were no certified accordion teachers in the country yet. Their appearance dates back to approximately the mid-1960s (music schools) and the beginning of the 1970s (universities). Accordionists initially treated the prospects of academic accordion training with great prejudice. It should be recalled that the talented accordionist Yuri Dranga, winner of the very prestigious All-Union Variety Artists Competition, studied at the Rostov Musical Pedagogical Institute (class of Professor V.A. Semenov) from 1971 to 1976. The rapid ascent of Yu. Drangi to the heights of academic performance was illustrative example for everyone who doubted the feasibility of such “experiments.” Indeed, over the course of three years, the pop musician, who was previously limited only to the entertainment repertoire, turned into an extraordinary interpreter of classical music. Having successfully shown himself during the most difficult competition - the All-Union qualifying round, where the strongest domestic accordion performers performed, Yuri won the 3rd prize at the extremely prestigious International Competition at that time (Klingenthal, 1975). Of course, this excellent performance was greatly facilitated by the outstanding personal qualities of Yu. Drangi himself, as well as the progressive methodology of the highly talented teacher and musician V. Semenov.

In subsequent years, as a rule, the trend of selective admission and training of accordionists dominated in domestic higher education. Mandatory conditions for enrollment were preliminary mastery of the elective system or a transition to the specified system in the coming months. Such screening, on the one hand, made it possible to exclude the possibility of a massive influx of the mentioned instrumentalists into academic performance; on the other hand, it stimulated the performing progress of musicians who withstood the competition, who later became high-class professionals. Thus, the teachers of the button accordion and accordion department of the Rostov State Conservatory named after. S. V. Rachmaninov today has reason to be proud of its graduate accordionists, whose fruitful performing, teaching, and organizational activities in many regions of our country and abroad contribute to the steady development of academic folk instrumental art. The emergence of gifted young people - very promising enthusiasts who already master the elective accordion in music school, and who have the necessary qualities for intensive creative growth - also inspires optimism. The significant achievements of the leading accordionists of our country and abroad inspire and serve as true guidelines for youth.

However, it should be noted that the pronounced positive trends in the development of domestic professional accordion performance are, at least, disputed on the pages of recent publications by N. Kravtsov. First of all, we are talking about the article “A system of organ-piano keyboards in the design of a ready-made accordion,” which encourages reflection on the real significance and further prospects for the long-term evolution of accordion art in our country and abroad. As N. Kravtsov states, “... in musical culture and art, composer creativity and the originality of presentation of the text of the work are initially valued most of all, and here, when performing genres of academic music on the accordion, serious problems remain in the implementation of the artistic and figurative idea of the composition being performed. We know about this and remain condescendingly silent. Maybe because the culprit of the situation was the famous piano keyboard? Or maybe because, due to the lack of young accordion players, trained accordionists fill the gaps in the workload in the classes of accordion teachers? Where can we honestly talk about the effectiveness and purposefulness of training accordionists? This is how it happened that in professional and pre-professional educational programs for training accordionists today, a double standard has quietly “taken root.” professional competence" Both the accordionist and the button accordion player receive the same diploma upon graduation from the educational institution (!?). This is bad for the state and humanly unfair.”

Next, N. Kravtsov moves on to practical recommendations: “It seems to us that the optimal scheme for training accordionists, which can be expressed in the following instrumental formula. The initial stage (of general educational training), as before, consists of learning to play instruments with a traditional organ-piano keyboard. The second stage (pre-professional training), as a predisposition to vocational training is identified, should be equipped with accordions with a right-hand organ-piano keyboard, and the left elective keyboard should have its proposed modification. The third stage (professional training) is determined solely by the professional orientation of the young musician. Providing the educational process, for example, with ZK-17 accordions (ZONTA factory. - V.U.)... will allow in secondary and higher education educational institutions eliminate the dual approach in training accordionists and button accordion players." The “guide to action” proposed above, in fact based on the idea of “self-promotion” of the original right-hand accordion keyboard (which was invented by N. Kravtsov back in the 1980s), encourages us to reconsider the most important design features of the latter.

It seems that this issue needs to be approached historically. As you know, there are accordions with two types of keyboards in the world - push-button and keyboard. In Russia, push-button accordions are called bayans, and keyboard accordions are called accordions. The accordion keyboard is an exact copy of the piano keyboard, used for several centuries. Even in the Baroque era, this keyboard system was widely used by craftsmen - manufacturers of organs and harpsichords. Subsequently, it was adapted to the manufacture of grand pianos and upright pianos. And today this system is recognized as truly universal, demonstrating its viability in various sociocultural and musical-stylistic contexts. The history of piano art contains information about numerous attempts to improve the corresponding design, but so far all such experiments have not achieved success. The optimality of the common keyboard model is determined, firstly, by the ideal sound-spatial relationship (an increase in sound is accompanied by a greater distance of the key, and vice versa), and secondly, by a convenient and expedient adaptation to the sound embodiment of the most varied texture. It is no coincidence that today the piano keyboard is considered both as a kind of constructive standard and as an integral part of the centuries-old cultural heritage - world organ, piano, and harpsichord music. The fact that the accordion has inherited such a wonderful keyboard system is an undoubted advantage of the instrument, especially in the initial period of lessons, when fundamental playing skills related to spatial orientation and the sound-motor complex system as a whole are being formed.

What are the essential parameters of N. Kravtsov’s new keyboard? How similar is it to the piano keyboard? Should a young performer who has mastered the accordion with a traditional keyboard necessarily “finish his studies” on such an instrument in order to supplement his repertoire with the latest original compositions? And is there a real need to introduce N. Kravtsov’s keyboard to replace the “outdated” piano one? Is it really necessary to rebuild the entire performance complex in order to perform newly created accordion works, or are university requirements fundamentally compatible with a focus on proven concert and pedagogical literature, which is quite convenient for performance on the accordion? If perestroika is necessary in principle, then isn’t it better to immediately relearn, mastering the most promising instrument - the button accordion?

Comparing two accordion keyboards allows the musician to discover their obvious differences. The new model looks like a button accordion keyboard, only with a different shape of keys - larger and separated by appropriate spaces. The keys are not arranged in a straight line, like on an accordion, but in a rather intricate sequence. As the inventor notes, “When examining the keyboard, one is struck by the unusualness of the strict graphics of the placement of black and white keys, which outwardly bears very little resemblance to a traditional organ-piano accordion keyboard. However... this difference is only external. In its design, it inherited all the properties of a traditional accordion keyboard. You can easily verify this the first time you try to play a new instrument. Therefore, rest assured that as an accordionist you will not have to relearn, but only complete your studies on this unique accordion.” A detailed analysis reveals the logical principle used by N. Kravtsov - a kind of “compression” of the piano keyboard.

This model, naturally, gives rise to a lot of questions, but still the main and determining factor in the conversion of musicians who were once successfully trained on the classical accordion to a new instrument should be the painless adaptation of developed, stable playing skills and abilities in the conditions of a “modified” keyboard. To what extent will the mentioned skills contribute to the formation of a stable performing complex? This issue, apparently, does not seem to be any significant to the inventor. The main argument in favor of the new design for N. Kravtsov is the external similarity of the fingerings, which indicates a simplified interpretation of the problem. Performing processes on any instrument are certainly not limited to fingering similarities or differences. For example, accordion players willingly use piano fingerings, but one cannot conclude from this that every accordion player, having learned a piece on the piano, can confidently and accurately play it on the accordion. He is forced to adapt his performing skills to the new conditions of keyboard movements. For each keyboard, the instrumentalist develops specific performance skills.

The problem of error-free, stable and emotionally liberated playing of the button accordion and accordion is associated with the correct placement of the performing apparatus, which provides for the formation of the foundations of spatial orientation, coordinated with pitch auditory concepts, already in the initial period of mastering the instrument. “Orientation on the accordion means the process of transforming pitch concepts into spatial-keyboard ones, facilitating the precise placement of fingers on the keys. Under the conditions of a specific instrument, the mentioned process is characterized by the ability to relatively quickly develop and consolidate stable connections between the pitch and spatial “coordinates” » . The skill of playing the accordion consistently is developed gradually. All performing actions must be meaningful, and the alternation of fingers and their movements on the keyboard must be coordinated thanks to a well-thought-out and proven system of auditory-motor relationships. When performing musical works, any movement of the fingers on the keys can be considered as sequential taking of intervals and their combinations.

One of the main methodological prerequisites contributing to the formation of stable navigation skills is the student developing an accurate mental representation of the structural organization of the keyboard. “When starting to master basic navigation skills, it is advisable to exercise synchronous performance control at three levels: pitch (“intervals sung” by the internal ear), structural (mental representation of the corresponding parameters of the keyboard), motor (coordination of movements in space). Each of the listed levels corresponds to a certain type of memory: pitch, structural-logical and motor-motor” (; see also:). Thus, performing skills are a whole system of interactions of various components, in which the key role belongs to the coordination of pitch and spatial representations.

What does N. Kravtsov mean by informing readers: “In this design, the thinking and techniques of playing on a traditional organ-piano keyboard are preserved as much as possible”? Such statements, as a rule, require serious methodological justification. Meanwhile, the inventor actually invites the accordionist to “just pick up” the instrument and... play. Enthusiasm and reckless trust - is it a completely sufficient “sum of parts” when the fate of a performer is decided? The new keyboard, according to N. Kravtsov, which is conducive to the formation of the modern image of a young performer, requires different basic skills; the latter must organically correspond with a harmonious system of auditory-motor connections. Fingering similarity is only the external side of performance. Under the conditions of a new keyboard (where all the most important spatial characteristics have been changed), the instrumentalist has to build appropriate performance connections in a new way. N. Kravtsov’s assurances about the “uncomplicated” adaptation mechanism (“to finish learning, not to relearn”) lack proper argumentation and certainly mislead the audience.

Ease of fingering is only one of the components of performing technique, and far from the most important. For error-free movements on the keyboard and optimal control of intonation processes, the most important thing is orientation in the keyboard system with which this instrument is equipped. By limiting ourselves only to convenient fingering, without a full-scale orientation system, we will not create the prerequisites that contribute to the formation of correct auditory-motor skills. N. Kravtsov’s “honeycomb” keyboard, due to certain structural features, is devoid of both spatial “delimitation” (present in a traditional accordion) and the row principle (characteristic of a button accordion). The lack of planar differentiation and tactile specificity allow the performer to feel only nearby keys. However, this feeling, in fact, turns out to be unstable due to the unfixed distances between the keys. In such a situation, it seems very difficult to use pitch (auditory) and spatial references. When learning a new piece, each time the performer is forced to re-master the mechanism of interval-spatial identification, which facilitates error-free finger movements and pressing the required keys.

It is the prospects for stable and high-quality play under the conditions of N. Kravtsov’s keyboard that look extremely doubtful. The accordionists whose performances I was able to listen to on this instrument were distinguished by the uncertainty of interval-spatial movements, with neighboring keys periodically “clinging” and a constrained, unexpressive performance of the corresponding episodes. Having shown interest in the mentioned difficulties, I independently familiarized myself with the new keyboard and discovered that a confident feeling of the spatial characteristics of the keyboard was hampered by the absolute lack of rows. Meanwhile, a modern accordion player is not recommended to look at the keyboard while playing. Visual correction of movements on the keyboard, combined with a vertical position and rational installation of the instrument, is extremely difficult and tiring, I try to wean my students from this habit. However, performers performing on an instrument designed by N. Kravtsov are practically forced to constantly look at the keyboard! In general, the “flat” arrangement of the keys, in my opinion, is erroneous, and for short musicians, visual control of the game is simply impossible. The mentioned musicians, trying to control the necessary spatial movements, are forced to install the instrument in an inclined position, which provokes stiffness of the performing apparatus and creates a large load on the curved spine.

The structure of the piano and accordion keyboards allows the performer to rely on the interval principle, combining and integrating auditory and spatial representations. In this aspect, N. Kravtsov’s keyboard assumes immeasurably greater variability, therefore, the level of mastery of the relevant skills will depend, first of all, on the initial stage of training (while it is clear from the above reasoning of the inventor, the initial mastery of the instrument should be carried out on a classical accordion). This leads to the next question: is the accordion an instrument with a new keyboard, or is it something else? Maybe it would be better to call it “Kravtsophone” in honor of the inventor? After all, in essence, we are talking about a new instrument, with different skills and sensations, a different “topography”, finger “choreotechnics”, suggesting the formation of a different performing thinking. It is difficult to determine how much time it will take to master a basic set of skills; this process is purely individual. Whether the mentioned model is good or bad, whether it has prospects (after certain design improvements) or not, whether the “Kravtsovofon” has the right to exist, like a button accordion and an accordion, or will eventually go into oblivion - it is possible to establish only by experimental means. But then the continuity declared by the author between the accordion and the new instrument turns out to be more than doubtful. After all, acquired skills should be modified and even transformed! The adaptation of skills associated with the traditional keyboard (which children master during the pre-professional period of training) to the newly invented instrument, proposed by N. Kravtsov, actually loses any meaning, since for the performer this novelty, despite all the similarity of fingering principles, will obviously “outweigh” the importance of the mentioned skills .

When mastering the described keyboard, there will be a restructuring of the performing system of sound-spatial orientation, functioning in the conditions of a traditional accordion keyboard (where the expansion of the interval corresponds to an increase in the distance covered) or button accordion (with a chromatic system of arrangement of keys and a stable feeling of rows). The similarity of fingerings in this situation does not at all guarantee uniformity of skills. As N. Kravtsov assures (see: ), the performer will not be able to quickly “finish his studies” by adapting to the new keyboard. Meanwhile, any relearning naturally provokes various “flaws” in spatial orientation on the keyboard, worsening the stability of the game. In my opinion, it is better to recommend the button accordion to talented accordion musicians who definitely want to perform compositions of “extreme” difficulty without instrumental “adaptation” of the original texts. In this case, both the artistic result and the stability of execution will be much more predictable.

A notable example of a balanced and promising approach to the development of the button accordion and accordion is the work of the remarkable Polish musician, teacher and methodologist Wlodzimierz Lech Puchnovsky: “Puchnovsky is a pioneer in many endeavors in Poland and beyond. He largely determined the development of accordion art in Poland and practically played a decisive role in this. Thanks to his active work, accordion classes were opened in many educational institutions, including the Academy of Music. F. Chopin. It was Pukhnovsky, by his strong-willed decision, who transferred all Polish keyboardists to push-button accordions (accordions). At the same time, analyzing the successes of Soviet button accordion players at international competitions, he came to the conclusion that the Russian system, the so-called B-griff, is more convenient for the position of the hands, especially in the left-hand keyboard. He always emphasized that in this system, “Albertian basses,” as on the piano, are easier to play, that is, the weak little finger plays the low bass, while the strong fingers remain free for virtuoso figurations. Since that time, all Polish accordionists, who all played keyboard instruments, gradually switched to the push-button system."

Which instrument is best to practice on is a question that has long been resolved among button accordion and accordion players. The button accordion seems more promising for training and concert practice, which is determined by the breadth of the corresponding repertoire. The method of switching from accordion to button accordion has already been tested by famous musician-teachers: V. A. Semenov, O. M. Sharov, S. F. Naiko, etc. There are many examples when accordionists retrained over the course of a year and successfully performed at competitions, showing excellent results. I also had to participate in similar “experiments” with my students. However, some in my class do not practice the aforementioned retraining of accordionists. The reasons for this decision were the accumulated experience of working with accordionists, a noticeable enrichment of the artistic repertoire performed on the accordion, but, perhaps most importantly, the factor of individual attachment, the love of the young musician for his instrument. Nowadays, it is especially important to be understanding of the efforts expended by both the student himself and his previous teacher during the “secondary specialized” stage of educational preparation. In addition, the teacher risks interfering with the natural process of student development, since the thoroughness and naturalness of the acquired initial skills may be disrupted during retraining.

Why do you need to retrain? According to N. Kravtsov, the main motive is the desire of accordionists to master a new modern repertoire addressed to the accordion, since the main “problem of performing the accordion texture on the right - organ-piano keyboard” becomes “a wide range of voices.” The desire to regularly get acquainted with the interesting music of our days is characteristic of every talented and inquisitive artist, regardless of what instrument he owns. Naturally, when performing modern academic music for button accordion on the accordion, difficulties arise associated with adapting some elements of the textural presentation of the original to the specifics of the accordion keyboard. From time to time, the accordionist is forced to introduce certain changes into the musical fabric that do not affect the fundamentals of the artistic and figurative concept of the composition being performed. In such cases, a clear representation (pre-hearing) of the most important textural “components” of the author’s intention is a prerequisite, which allows one to achieve an adequate performance result (thanks to the common nature of sound production in the button accordion and the accordion).

Let us note that the “automatic” adaptation of modern academic accordion music to the accordion is extremely rare - even if such “automatism” turns out to be technically convenient and possible. In other words, it is not so important whether a particular arrangement is performed on a traditional or a “new” keyboard. This is especially true for the “adaptable” features of the three-row fingering system (based on the logical principles of the button accordion keyboard structure: simply put, each finger moves along its “own” row of keys). In fact, the button accordion “grip” on the accordion seems to be a kind of “invention”, only partly convenient and organic. N. Kravtsov’s desire to “preserve as much as possible the thinking and techniques of playing on a traditional organ-piano keyboard” implies the execution of specifically accordion textured elements with sequentially alternating fingers. The positional principles mentioned above (a natural product of the three-row system) cannot be implemented in this case, since the distances between the keys of the new keyboard exceed those of a modern button accordion. That is why the accordion texture will be forced to be performed using other fingering combinations.

Such difficulties are especially noticeable in the process of learning the original works of accordion composers (Vl. Zolotarev, V. Semenov, V. Zubitsky, A. Yashkevich, etc.), who very clearly understand the specifics of the right accordion keyboard, and sometimes even compose in direct “contact” ” with the instrument (or they “test” newly created opuses in their own performance). The new keyboard proposed by N. Kravtsov requires new fingering solutions that differ in sound from the original design and correspond to the transcriptions. When performing accordion music created by composers - “non-accordionists” (they generally take into account the keyboard features of the instrument without mastering it), the potential interpreter all the more has to “adapt” the sound material in accordance with the actual features of the button accordion or accordion.

In general, the problem of repertoire “deficit” is often successfully solved by modern teaching practitioners. For example, accordion students have been studying in my class for many years, and no connection is found here with the supposedly “closed gaps in load volumes” in university classes. Apparently, today the attractiveness of the accordion in the initial period of training turns out to be higher than the “attraction” of the button accordion (we will not delve into the reasons for this phenomenon). The organization of the university process of training accordionists and button accordionists has practically no significant differences. After 45 years of work at universities and colleges, I have developed a full-fledged repertoire for the accordion, allowing students to achieve the required professional level in accordance with the criteria of higher specialized education. The accordion, of course, is not an “omnivorous” instrument, and to challenge the legitimacy of assigning a university qualification based on the scale of the modern original repertoire performed would be, to say the least, reckless.

An equally weighty argument in favor of transcriptions of modern academic accordion music is the attitude towards this process demonstrated by the authors of the corresponding works. In particular, the wonderful Don composer A. Kusyakov, who repeatedly agreed to listen to my accordion students to familiarize themselves with one or another version of the arrangement, was very calm about the adjustments made, believing that the main thing in this area is to maintain a sense of proportion and follow the artistic intent of the work. Moreover, with the support of A. Kusyakov, a number of his works in accordion “versions” were published by the publishing house of the Rostov Conservatory.

In relation to the performance of organ music on the accordion, it should be noted: not every composition for organ can be recreated by accordionists in the original version. Often the interpreter has to “re-present” the author’s text, selecting artistically acceptable options for its sound embodiment. The button accordion, like the accordion, cannot be considered a “universal” instrument, which is confirmed by the practice of corresponding transcriptions of orchestral, violin and piano opuses of the romantic era.

When considering the prospects for using the keyboard proposed by N. Kravtsov in the left-hand part, as well as the advisability of the “mirror” placement of voices (low register is the upper part of the keyboard, high register is the lower part), the author of these lines has great doubts. The idea requires further study and thorough refinement. The inventor’s argument regarding the “improved” arrangement of the lower voices and the logically unmotivated system of duplicate rows on the elective keyboard look extremely problematic: “The study of the problem has shown that motor-game processes are established faster and are more consistent with general human physiology if they are based on “mirror” countermovement " And further: “It turned out that with a mirror construction of the elective keyboard, all fingerings known in the history of the piano, organ and accordion for the right hand can be successfully used when playing in the left.” It is unclear what motor-game processes N. Kravtsov has in mind. However, practical experience of working with an accordionist who studies in the class of the author of this article and practices on the “mirror” left keyboard of an elective instrument allows us to conclude: the problems of convenience of performing movements during scale-like passages remain unchanged for the specified “inverted” model. In both cases, it seems much more convenient to perform passages with ascending movements along the keyboard, and more difficult with descending movements. When performing a bass-chord texture on a “mirror” elective keyboard, contradictions of an auditory-motor nature arise when the lower voice is placed at the top of the keyboard, the chords at the bottom (with a clear deviation from the pitch guidelines). This leads to the unrational use of fingerings, which does not take into account the physiological characteristics of the hand and the key role of more dexterous fingers in organizing the performing process. On a “mirror” keyboard, the bass is played by the mobile and flexible 2nd finger, while the less developed fingers, not very suitable for searching and synchronously playing matching tones, are assigned chord sounds. The keyboard of the traditional system should be considered clearly preferable for performing such a texture, as it allows one to recreate the logical principles of the original in transcriptions of piano music. The elective keyboard is the left (lower) part of the piano scale on which the bass accompaniment is played with the 5th or 4th fingers. In the context of a traditional keyboard, spatial orientation also turns out to be more convenient - we are talking about rows and distances that are consistently felt (by the 2nd finger) during jumps or textured movements, despite the rather large distance of chord sounds from the bass.

Another very dubious thesis of N. Kravtsov is the statement: “... the fingerings for the parts of the right and left hands do not need to be studied separately, but only one fingering is enough, which will be universal for both hands. In addition, the process of reading notes from a sheet, which has always been a problem when playing on three instrument systems, is greatly simplified.” In connection with the proposed “uniform” fingering, let us again turn to the process of developing gaming skills. On the button accordion, despite the undoubted similarity of the right and left keyboards, the mentioned process is by no means determined by fingering “parallels”. The formation of strong and stable gaming skills is achieved through training carried out by each hand separately. This implies, along with the consistent development of the keyboard path, the mandatory use of control principles at the sound-spatial and intonation level. Later, at the next stage of mastering the piece being learned, a new – joint, unifying – skill is developed. Therefore, N. Kravtsov’s reasoning about the prospects of learning performed compositions according to an accelerated and maximally “lightweight” schedule looks obviously erroneous, as well as the supposed “relationship” between confident sight reading and the similarity of fingerings.

Similar misconceptions are characteristic of G. Shakhov’s earlier publications (see, for example:), in which auditory-motor performing skills are replaced by fingering “parallelism”. The fallacy of this interpretation of the problem is clearly revealed when sight-reading by inexperienced button accordionists and accordionists: not very accurate pitch prediction of the text being performed is aggravated by an approximate internal vision of the keyboard. The result is a search for the appropriate keys, implemented by “poking” the keyboard - “detecting” text on the keyboard, and not vice versa. The result of such work is not very comforting: the actual performance proceeds “independently” of real connections with pitch pre-hearing and intonation control.

Let's briefly summarize what was said above:
1. N. Kravtsov’s statement about the professional “inferiority” of certified accordionists, who supposedly need to switch to a new keyboard design, looks simply absurd (and, in fact, harmful).
2. The accordion is a self-sufficient instrument, the development of which takes place in the conditions of a well-established and fairly effective system for training highly qualified specialists.
3. The author’s statements regarding the advantages of the keyboard he invented are not supported by methodological justifications for the advisability of widespread training on “Kravtsov’s accordions.”
4. The keyboard in question is not an “improved version” of the traditional one, but a new model, to master which one must relearn - not “finish learning”.
5. Replacing the traditional pitch arrangement in the left elective keyboard with a newly invented (“mirror”) one looks like an inappropriate and unpromising initiative.
6. Current situation in the field of music education is characterized by the relevance of problems related to the content and quality of the educational process. We need to teach and study in such a way that our profession takes a worthy position in the corresponding domestic ranking. Bayanists and accordionists will have to find their place in society, declare the significant role of performing folk instruments and evoke a warm response from today's audience.
7. The point of training is not how many diplomas and cups a young musician will win at international competitions, but his passion for his chosen profession. The performer’s love for his instrument should be the “red thread” of every creative biography; In addition, a true professional is obliged to awaken a similar feeling in his own students.
8. Instrumental “re-equipment” of accordionists and the introduction of a modified keyboard into performance practice today are hardly pressing tasks. The situation with N. Kravtsov’s invention can be successfully resolved and is already being resolved thanks to an individual approach to training. By imposing certain “generally obligatory” recipes in this area on domestic musicians, we are simply leading our colleagues away from understanding the pressing problems of domestic professional education and the concert and performing arts.

Literature
1. Accordion by N. Kravtsov. URL: http://www.accordionkravtsov.com/method.shtml.
2. Kravtsov N. System of organ-type keyboards in the design of a ready-made accordion // Offering to the Department of Folk Instruments [SPbGUKI]: collection. Art. St. Petersburg, 2013.
3. Lips F. In memory of V. L. Pukhnovsky. URL: http://www.goldaccordion.com/id1344.
4. Ushenin V. Improving the technical skill of an accordion player: textbook. allowance. Rostov n/d, 2013.
5. Ushenin V. School of playing the accordion: educational method. allowance. Rostov n/d, 2013.
6. Ushenin V. School of artistic mastery of the accordion player: educational method. allowance. 2009.
7. Shakhov G. Playing by ear, sight reading and transposition in the accordion class: textbook. allowance. M., 1987.

Honored Artist of Russia,
Ph.D. in History of Arts,
Professor of the Rostov State Conservatory named after. S.V. Rachmaninov
V.V. Ushenin

The article “Professional accordion performance at the present stage: development prospects” was published in the collection of materials of the scientific and practical conference “Bayan, accordion, national harmonica in modern domestic musical culture” (Rostov-on-Don, Russian State Conservatory named after S.V. Rachmaninov, 2016 , p. 196).

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Course work

Methodology for developing musician's performing skills

Introduction

I. Sound production

1.1 Some prerequisites for initial training

1.2 Articulation and touche

1.3 Metrorhythmic difficulties

1.4 Features of tempo and dynamics

II. Technique

2.1 Brief concept of technology and its elements

2.2 Working on strokes

2.3 Fur techniques

2.4 Performing harmonies

2.5 Independence of fingers and hands

2.6 Fingering and technical phrasing

III. Other aspects of working on a piece

3.1 Aesthetic development

3.2 Interpretation and development of creative thinking

3.3 Concert performance

IV. Conclusion

Bibliography

articulation concentration fingering consonance button accordion

Introduction

In just one century, the button accordion has gone from a simple folk instrument to a complex, multifunctional mechanism that allows you to perform music of any genre, imitate the sound of many other instruments, and widely use the features of range, registration, and sound production. All this opens up wide opportunities for the performer, but also leads to inevitable difficulties. Modern practice of musical performance requires deep emotionality, spirituality, and freedom of performance from the musician. One of the prerequisites for a high performing level is the technical preparedness of a musician. Technique is part of the craft, and directly affects the artistic image. While working on a piece, the accordion player is engaged in polishing individual parts, practicing thinning, strokes, dynamics and other elements. The success of mastering performing skills will depend on how focused the work is not only on the technical equipment of the performer but also on the artistry of the technical material.

1. Sound production

1.1 N some prerequisites for primary education

Work on an artistic image should begin from the first lessons; even when learning the simplest works, you need to achieve expressiveness and meaningful performance. Folk melodies are especially suitable for this, the emotional and poetic meaning of which is quite simple and understandable. However, the lower the student’s technical level, the greater the difficulty for him in working on an artistic image.

Music is the art of sound, its recreation must fully reveal the content, the meaning of the image, so it’s worth first focusing on the relationship

Sound with some features of the button accordion. There are a number of conditions that qualitatively influence the performance of any musician. Firstly, complete freedom of the hand, based not only on the individual state of health, muscles, psychological liberation, but also necessarily resulting from the competent placement of the instrument and the correct position of the accordion player.

Secondly, teachers of modern schools are increasingly raising the question of the quality of the instrument, since poor sound is often instilled in the student automatically, due to the impossibility of demonstrating a good, full rich sound on a low-quality button accordion, or the student’s inability to extract a more “live”, spiritual tone on bad instrument.

Thirdly, the social aspect plays an important role, that is, family, everyday and cultural conditions that previously influenced the development of the student.

1.2 Aarticulation and touche

Artistry in music lies solely in the reproduction of various shades and gradations of sound, therefore the performer must direct all efforts to the formation of sound expressiveness. The peculiarity of the button accordion is that it is possible to control the subtlest shades of dynamics and in some way influence the timbre with the help of bellows.

Articulation - ways of touching the keys with fingers and techniques of mechanical engineering. They are in constant dependence on each other and on the image of the piece being performed. Articulation can be divided into 3 types - finger, fur and fur-finger. Depending on what articulation is used, the attack and ending of the sound will change; they will have a smooth, soft character, or a sharp, abrupt sound. The most common type of articulation is finger articulation, when the bellows is first moved with the required force, and then the key is pressed. When the sound ends, the opposite happens. From the very first lessons, you need to warn the student against monotonous mechanical finger work. The first homework assignments should already include some elements of creativity - the use of contrasting dynamics, different rhythmic patterns on at least one sound when practicing articulatory techniques. (The famous rhyme “Andrew the Sparrow”).

Touché is a way of touching the keys, pressing, pushing, hitting or sliding (glissando). Modern teachers recommend using glissando as a staging exercise to develop a sense of the “bottom” of the keyboard. This also has an artistic meaning, since it introduces the student to an interesting artistic technique that is widely used in accordion performance. In the future, glissando can be used in creative tasks of improvisation and variation, and in meter-rhythmic exercises.

For the artistic expression of a composition, the role of fur movement is extremely important. Here everything depends on the work of the left hand. The fullness and depth of sound, even at low strength, will not be lost if the bellows is constantly driven with the left hand, without stopping movement even during pauses. Excessive force in driving the bellows invariably causes a forced sound, while passive accompaniment gives an empty sound. The conclusion follows from this: without a certain installation and precise physical distribution of movements of the hands, fingers, and body, it is impossible to make the instrument sound expressive. The key is the ability to find the most appropriate moment to change the direction of the fur. It is determined not only by the structure of the phrase, but also by the nature of the melodic movement. One of the features is that some sounds of the melody are emphasized, while others are pronounced without emphasis. This makes the change of direction before the accented beat most appropriate. The climactic moment requires the brightest emphasis. Therefore, most often the direction of the fur changes in front of him. This should be implemented as discreetly as possible. The most difficult thing is when the culminating sound is separated from the previous one by a jump, and the longer the interval, the more imperceptible is the change in fur. Conversely, the interval of an ascending minor second makes it very noticeable and therefore undesirable: A change of bellows is completely unacceptable if the climax is preceded by a bunch of a smaller metric category. The simplest and least noticeable to the ear is the change between repeated sounds, especially if the first of them is on a weak time, and the second on a strong or relatively strong time. In polyphony, it is often necessary to change the bellows on sustained sounds, this must be done quickly, making sure that the change does not change the dynamics,

When performing the cantilena, you must strive as much as possible to bring the sound of the button accordion closer to singing, to the human voice.

1.3 Mrhythmic difficulties

Melodic, rhythmic, tempo structures are interconnected and, by their specific means, determine the general character of the work. Metro-rhythmic accuracy of performance often requires special attention, due to the fact that music is a sound process that unfolds in time, hence the need to consider its various factors - the metric ordering of rhythmic groupings, tempo and deviations from it caused by certain artistic tasks. The connection between sound and rhythm becomes especially clear in cases of rubato. One of the reasons for uneven play is the lack of coordinated movements of the right and left hands, which sometimes leads to the right hand “overtaking” the left. The solution in this case would be to play at a slow tempo, with the bell accentuating the strong beats, but this is only permissible in places where there are fingering or other difficulties; abuse of this technique leads to a distortion of the artistic plan of the work. Rhythmic harmony can be disrupted by jumps occurring in the left hand; they affect coordination, and as is known, the discrepancy between the movements of the hands and body and the sound image disrupts the performer and listeners’ understanding of the nature of the music. Often rhythmic organization in motor pieces suffers due to uneven touches and uneven finger touches. This occurs when a large load falls on “weak” fingers.

Despite all the conventionality and sketchiness of metro-rhythmic notation, only an accurate reading of the rhythm written by the composer reveals the emotional and expressive meaning embedded in it. The image of the work is easily distorted when the exact ratio of durations is violated, especially when playing with a dotted rhythm at a slow tempo, or when the dotted line is followed by another rhythmic figure on the next beat of the bar. Accurate performance in such cases is facilitated by awareness of the artistic significance of the new rhythm. This is especially important when working on polyrhythms; you need to feel the expressive meaning of any polyrhythmic combination. You can be convinced, for example, that movement in the main melodic voice in groups of fewer notes than in the accompaniment gives the melody more calmness and smoothness.

A special place in the game is occupied by errors associated with the execution of pauses; you need to remember that this is not just a break in the sound. Pauses have an artistically justified meaning. Sometimes students may move during a pause, adjust their belts, or look at the keyboard. This knocks the performer (and the listener) out of the image. One line of development disappears, and if the caesura between parts is violated, the opportunity to highlight contrasting themes and give liveliness and expressiveness to the performance disappears. (V.L. Zolotarev Suite No. 3, “Loneliness”).

1.4 ABOUT features tempo and speakers

The nature of the internal movement of the work and its development depend on the tempo. It is necessary to pay attention to correct interpretation tempo author's instructions. For example, playing at tempo does not mean the maximum tempo that will accompany the entire piece. It is important that the teacher correctly compares the student’s technical capabilities with the tempo development of the work as a whole.

The most common mistakes:

1. Inability to choose the initial tempo, especially when performing the cantilena; in this case, the teacher must direct efforts to activate and sharpen the student’s figurative and emotional perception and experience of music. If this is not enough, you can suggest mentally singing a few bars of the work, so that when the student begins to perform, he is already in the desired rhythmic area. It is not necessary to sing the piece from the beginning; it is more advisable to sing those measures that most clearly convey the movement in small durations.

2. The performer's attention is directed to overcoming technical difficulties, as a result of which control over rhythm is weakened. This is why technique is so important, it gives freedom and naturalness of expression.

3. Violation of tempo when performing rubato. The solution of agogic nuances, the measure of rubato largely depend on the individuality of the performer, his intuition, talent, taste, breadth of outlook and creative imagination, as well as the characteristics of each work, style and compositional style of the author. Creative performance is born as a result of the interaction of intuition and fantasy with a deep analysis of the work. It is impossible to achieve a combination of correct execution and rhythmic freedom of a given phrase without finding its correct nuance. The tempo of individual parts of a work or cycle can only be considered in connection with the tempo of other parts and the feeling of some temporary whole of the entire work or cycle. To denote various tempo deviations, the authors use the terms meno mosso - less agile, piu mosso - more agile, or accelerando - accelerating, ritardando - slowing down. The former oblige you to instantly change the pace, and the latter - gradually. Often the designation a tempo (at the same tempo) is understood by the performer in a straightforward manner, which leads to unjustified shocks in the speed of movement. The content and character of the work will always tell you how to return to a tempo, suddenly or gently, gradually. Agogical freedom requires compliance with the law of compensation - “as much as you borrow, so much you give back.” The performer's musical instinct, which suggests to him various agogic nuances, must be subject to a strict time regime and logical calculation. A certain difficulty is the free execution of cadence formations. For greater clarity in their execution, it is necessary to group and outline the boundaries of the action of accelerando and rallentando in a certain way, and calculate them in time. (D. Barton “Toccata and Fugue in D minor”). Logic may suggest that in pieces of a toccata, march-like nature, the use of rubato is hardly appropriate. This does not mean that they should be performed with some mechanical uniformity; there will be other agogic shades (caesuras between individual formations and parts, acceleration and deceleration, changes in tempo. The correctly chosen tempo will contribute to the accuracy of execution and clarity of expression of the dynamic plan. The student should be given a broad concept of a dynamic scale.

A common mistake is the inability to show the difference between p and pp, f and ff.”* Moreover, for some students f and p sound somewhere in the same plane, in the average dynamic zone. Hence the dullness and facelessness of the performance. In the area of sound related to forte, it is important to warn the student against the danger of exaggeration and excess. You need to have a powerful, strong sound, but the sound should not lose its expressiveness, richness, and beauty. It’s a good idea to practice on one sound in order to accurately match your own strengths with the dynamic range of the instrument. A very important point is also the ability to distribute crescendo and diminuendo over the required length of musical material. Changes in tempo and dynamics usually do not start at the very beginning of the measure or phrase, but occur a little later, often on a downbeat. Particularly difficult are short passages that require carefully adjusted mechanics and strokes. The most common mistakes are acceleration when performing crescendo and slowing down when performing diminuendo; practicing with a metronome in the classroom and at home can correct this deficiency.

II. Technique

2.1 K Ratkoe p concept of technology and its elements

Many performers by the word “technique” mean only fluency, speed, evenness of sound, that is, individual elements of the technique, and not the technique itself as a whole. Technique is a set of technological means, skills necessary for the realization of artistic intentions - various methods of sound production, finger motor skills, wrist rehearsal, techniques for playing with bellows, etc. To achieve a technique that allows you to freely play works of any level, it is necessary to use all the anatomical features of the hands and body, starting with the work of the smallest muscles of the fingers and including the participation of the muscles of the trunk. The button accordion technique can be divided into small (finger) and large (interval), as well as bellows playing and sound production techniques.

Essential elements:

1. Taking one sound.

2. Melismas, rehearsals, sequential performance of two or more notes in one position.

3. Single-voice scales, performance of scale-like passages that go beyond one position. Arpeggio.

5. Playing double notes.

6. Chords.

7. Hand transfer and jumps.

8. Performance of polyphony.

Below we will consider some of the means of musical expression necessary for the development of the performing culture of an accordion player.

2.2 Rworking on the strokes

A special place in working on an essay should be given to strokes. They must perform both artistic and technical functions. “Strokes are characteristic forms of sounds obtained by appropriate articulatory techniques depending on the intonation and semantic content of the work.” Conventionally, they can be divided into drawn-out, connected ones - legato and legatissimo, separate ones - non legato, and short, concise ones - staccato and staccatissimo. Lengthy (connected and separate) strokes are necessary mainly in the performance of the cantilena, and short (short-voiced) strokes serve for clarity, sharpness of separation of sounds or chords, both in continuous movement and separately. (I. Ya. Panitsky “Peddlers” var. No. 1).

Characteristic features of the main strokes and methods of execution:

legato - coherently). The fingers are placed on the keys. The brush is soft, but not loose, it should have a feeling of purposeful freedom. The finger gently, without swinging, presses the desired key, causing it to smoothly sink all the way. Each subsequent key is pressed just as smoothly, and simultaneously with its pressing, the previous key softly returns to its original position. It is important to ensure the evenness of the fur and to ensure that the sounds do not overlap each other; auditory control plays a major role in this.

Non legato - not coherent. It is performed by one of the three main types of touches with smooth handling of the fur. So that it does not turn out to be too abrupt, you can tell the student that the duration of each note should be no less than the interval, pause between sounds, and preferably a little more than a pause or equal to it if the tempo is slow.

Staccato - sharp, abrupt sound. It is usually removed by swinging a finger or hand while moving the fur evenly. Depending on the musical content, this touch may be more or less sharp, but in any case, the actual duration of the sound should not exceed half the note indicated in the text. Fingers are light and collected:

There are varieties of basic strokes that help to better realize the artistic concept - marcato - underlining, an active finger strike when jerking the fur, martele - accentuated staccato, a sharper jerk of the fur. Portato is a cohesive stroke that has a more active sound compared to legato. It is used in melodies of a declamatory nature, tenuto - a separate stroke - precise maintenance of durations and dynamics, De tache - the extraction of each sound by a separate movement of the bellows in release or compression. It can be connected or separate, performed with fingers or fur. The line symbols indicated by the composer are largely arbitrary and usually require additions and clarifications. For a better understanding of the artistic image, you can use the opposite stroke, instead of legato - staccato, and vice versa, this clearly shows the student how much the character of the work changes, and why it should be performed with exactly the stroke indicated in the notes, and not some other. (S. Frank “Prelude, Fugue and Variation in B minor”). In addition, the method of changing or combining different strokes develops motor courage and activates attention.

2.3 M ehov first techniques

The main techniques of playing with fur are expansion and compression. The remaining techniques are based on various combinations of them. Tremolo is the most common technique, a quick, uniform alternation of expansion and compression. Its main difficulty is to constantly monitor the state of the muscles, some must have time to “rest” during the release, others during the contraction, you need to monitor the uniformity of the sound, often students spend more effort to “push” the bellows into the release, so it sounds louder. The movements of the left hand should not only be uniform, but also be carried out not horizontally, as it seems at first glance, but diagonally, which gives freedom and uninhibited movement. For successful long-term performance of the tremolo, you need to make sure that the instrument stands as stable as possible, and did not move at all during playing, adjust the straps more tightly, calculate the change of bellows in the piece so that the tremolo starts with almost full compression.

The first attempts to introduce the tremolo into use were made by Konyaev in the “concert piece”, Kuznetsov in “Saratov busts”. They imitated an accordion, or served as a kind of accompaniment to the melody.

Vibrato is a dynamic fluctuation achieved by small shocks of the bellows during its continuous movement. It can be performed with both the left and right hands, sometimes with two hands or in other ways. The frequency of the vibrato will determine its sound; a large one can imitate a vibraphone, a small one can imitate a string tremolo. (Dalla-Podgorny “Dedication to Caruso”).

Ricochet is an interesting technique, used for the first time

V. Zolotarev in the finale of the second sonata. It is based on alternating movements of the upper and lower parts of the fur into expansion and compression. Ricochet can be three or four beats, less often five or more, it can imitate the saltando stroke of the strings, reproducing a dry, abrupt rhythm.

2.4 I playing harmonies

The most important element of playing the button accordion is the execution of the Accompaniment. Its character must fully correspond to the nature of the presentation of the melody, its content, and the style of the entire play as a whole. Thus, in pieces of a slow tempo and in melodies of a melodic type, the basses are often smoothly combined with chords, and the chords are played in full duration, coherently. (Ivanovichi waltz “Danube Waves”). In a melody built on small fractional rhythmic durations, especially at fast tempos, such linking of the bass with the chord (“pedalization”) and maintaining the full duration in the accompaniment chords will only interfere with the melody, make it heavier and muffle it. For the most part, chords are played briefly and easily, especially in pieces with a moving tempo. There are many different types of accompaniment and techniques for performing it. It is important to note the main thing: the accompaniment should better highlight, highlight and support the melody. Chord texture is difficult for accordionists because it requires quickly gathering the fingers into the shape of the proper chord, which is especially difficult when the sounds of the chords are located on different rows. To overcome these difficulties, it is recommended to use techniques such as sliding, finger substitution, and rotational movements of the hand. The main thing should be to ensure that in works of a cantilena nature, the melodic line hidden in the chords is performed smoothly; the chords need to be “brought closer” to each other as much as possible. (D. Buxtehude “Chaconne in E minor”).

2.5 N independence of fingers and hands

All fingers are different by nature, their training should not be limited to making them of the same strength, but so that any finger can produce the sound of the required strength, and in relation to the button accordion, reproduce the desired stroke. The difficulty lies in the fact that in a button accordion, air with the same pressure passes through all open resonator holes, which does not allow one to single out any one sound in a chord. Therefore, methods for isolating individual voices in the texture will be reduced to working on the interaction of fingers with keys. In polyphony, the difference in the sound of voices is usually achieved by playing them with different strokes; the independence of the fingers must first be practiced on scales with double notes. One voice, let’s say the top one, you need to play staccato, the bottom legato, and vice versa. You can also add the left hand, which will have one more touch - non legato. Another means of showing a certain melodic line is a partial key press, usually used in the left keyboard, often a partial bass press, sometimes a chord. (E. Grieg “Folk tune”). This method is difficult for students, so you need to pay attention to it from the very first lessons, especially taking into account the fact that for many instruments the sounds of the left keyboard are often louder than the right, and when played they drown out the part of the right hand. Another means of showing a melody running against the background of chords is subtle nuances in bellows; if the sounds of the melody are played first, and then another voice or accompaniment is superimposed on them, then at the moment another voice or chord enters, you need to pause the bells a little, or lead it a little less active. (A. Rubinstein “Melody”). The difficulty is that by pausing the bellows, the student is distracted by it and is late in playing notes in the right hand; bellows control with slowdowns and stops is practiced in advance, it should become automatic. It is impossible not to mention the independence of the hands when playing bellows techniques, especially tremolo, where an exact coincidence of the notes being played is required with opening and closing. (V.L. Zolotarev Suite No. 1 “The Jester plays the harmonica”).

2.6 A fingering and technical phrasing

Phrasing is the syntactic division of a musical work; it is divided into parts, periods, sentences, phrases, motives. Typically, the accordion player’s thinking is associated with dividing the work into phrases; this is due not only to the usual perception of music, but also to the need to change the bellows, which often coincides with phrasing. The performance of each specific phrase depends on the previous and subsequent material, and on the nature of the entire piece as a whole. The performer is required to have a clear sense of perspective, competent placement of caesuras, giving the necessary expressiveness, but not violating the integrity of the work.

It is important to choose a good, most suitable fingering. since it contributes to a better solution of the required artistic tasks and faster automation of game movements. The main advantage of fingering with scale movement is that it ensures a calm state of the hand and uniform, rhythmic movement of the fingers, which allows you to focus on mechanics and better regulate dynamic changes in sound. Unreasonable violation of fingering is unacceptable. Still, there are cases when the fingering principle is violated not only when jumps appear, but also when moving forward. This happens. If it is impossible to achieve a coincidence of technical and musical phrasing, here artistry must prevail over convenience; it may be necessary to violate the positional principle, or even temporarily change the positional fingering to the traditional one. (V.L. Zolotarev suite No. 1 “The jester plays the harmonica”). Technical phrasing is used only during the period of learning a piece, when emphasizing strong beats helps maintain meter-rhythmic integrity and clarity of phrasing.

The main principle in selecting the thirds fingering is the longest possible preservation of a certain paired alternation of fingers. However, the main condition should not be ease of performance, but the preservation of the technique indicated in the notes. Where it is impossible to maintain the principle of pairing, one has to use slides, substitutions, and taking minor thirds with one finger. (G. Shenderev “There is a path in the damp forest”). It can be difficult to maintain the strokes, this is especially noticeable when playing legato. Therefore, the fingering that can best express the author’s idea can be considered convenient.

III. Othersaspects of work on the work

3.1 E aesthetic development

Comprehensive musical training has a beneficial effect on the aesthetic and artistic development of an accordion player. You need to listen to music more often (soloists’ performances, symphony concerts, opera), preparing in advance for the perception of musical works. It is very useful for accordion students to listen to each other in class, as this makes it easy to notice performance flaws. By analyzing the causes of other people's mistakes, you can quickly find and correct your own. Greater role in general musical development plays a good knowledge of vocal music. It is achieved through systematic listening, as well as performing vocal works with voice and accordion, especially folk songs. The specific content expressed in the text, in combination with music, helps to better understand the ways of realizing the author's intention. The perfection of folk songs and classic works provides wide scope for the development of an aesthetic sense together with imagination, arouses the desire to develop one’s own musical themes and cultivates artistic taste and a more critical assessment of one’s own work. They contribute well to the general development of knowledge from other fields of art. It is necessary to read as much fiction as possible, it stimulates the imagination, systematically visit the theater and cinema, stay informed modern dramaturgy while gaining some useful artistic experience.

3.2 I interpretation works and development of creative thinking

Without creative initiative and independence, a true musician-performer is unthinkable. You need to work on developing these qualities every day, throughout the entire period of study. For younger students, program works that not only set one in a certain mood, but also develop fantasy and imagination, are well suited. On initial stage The teacher awakens the student’s initiative during the lesson itself.

If your academic performance is high, you can let students finish learning a half-learned piece on their own. A student who copes well with this task can be asked to learn the entire piece on his own. The method of persuasion helps to develop creative initiative.

It should be shown with specific examples how to perform this or that part of the work, why with such a technique and such fingering.

Undoubtedly, the student’s own perception should be taken into account, since the interpretation of the work may be different, even if there are author’s instructions in the text. Arrangements of folk songs, as well as ancient music by unknown authors, generally have different interpretations; the student can intuitively find the best option, but one should not completely follow his lead, since students often try to play the way that is simpler, resulting in a discrepancy between style and sound works.

You cannot limit the performance to the teacher’s idea of the sound of a given piece. It is important to find a middle ground that would provide the opportunity to develop the student’s creative initiative, but would also keep him within the limits of a given style. To develop creative independence, you can use the choice of work at will. If the play proposed by the student is a full-fledged work of art and corresponds to the level of technical development at this stage of training, it can be included in the work plan.

3.3 Kconcert performance

As you know, performance on stage should crown any work on a work. Every teacher, before letting a student go on stage, must take into account a number of factors that accompany any performance. Firstly, it is extremely important how the program is composed; you need to start with a less complex, perhaps cantilena piece, which will allow the performer to hear himself and get used to the acoustics of the hall. The first piece establishes contact with the audience and gets them ready to listen to the music. Secondly, you should not mix genres; usually the program is structured in such a way that

First the classics were performed, then romantic music, folk arrangements, and the performance ended with modern plays. For an inexperienced performer, the decisive thing is to structure the program in such a way that he can play it with a rational distribution of physical forces and without errors. The final piece should be a piece that puts a logical point in the concert, or becomes its culmination. Thirdly, the piece should be worked out in such a way that the performer can start it from any bar, or at least from any phrase. The duty of the teacher is to accustom the student not to get lost in case of mistakes and mistakes, to continue to move forward, to give an idea of some techniques that can help on stage in case of mistakes. A minor blot can ruin the entire performance plan if it is perceived as a tragedy; errors should be analyzed only after the performance. Fourthly, on the day of the concert you shouldn’t tire yourself out with classes, whether to play the program or not, everyone decides for themselves, but you definitely need to play well, especially before a performance in an unfamiliar hall, when not only its acoustics are unknown, but also its temperature. In no case should a teacher give advice before going on stage, they violate the internal state and are essentially useless, it is still impossible to correct anything during a performance, but it is very easy to sow panic and uncertainty in an inexperienced performer, and an experienced one. useful" tips will distract from previously made developments. Everything must be taken into account and done in advance, but if any shortcomings are discovered, you should not postpone the performance; it is better to correct the errors in the future. This is what distinguishes a good performer; he continues to improve the program after the concert, finishing it, or rethinking it again.

IV. Conclusion

All the musician’s work on the piece is aimed at making it sound in concert performance. A successful, bright, emotionally filled and at the same time deeply thought-out performance that completes work on a work will always be important for the student, and sometimes it can turn out to be a major achievement, a kind of creative milestone at a certain stage of his education. It follows from this that previous technical training should not be reduced to mechanical development of movements, but must contain an artistic element in advance. Technical material can be implemented creatively, becoming interesting and memorable for the student. Accordion players already have such methods, earlier ones - a manual on the development of accordion player Vladimir Podgorny’s technique “Modulating scales and arpeggios in a closed circle system”, and modern ones, for example, Alexander Gurov “Development of accordion player technique using the exercise method”. The synthesis of two principles - technical and artistic - will provide the performing musician with a conscious understanding of music and its highly artistic performance, which will not leave the discerning listener indifferent.

Is there a listteratures

1. Davydov N. A. “Fundamentals of developing the performing skills of an accordion player” - Internet version, 2006.

2. Lips F.R. “The art of playing the button accordion” - Moscow, 1985

3. Neuhaus G.G. “On the art of piano playing” - Moscow, 1958

4. Pankov “On the accordion player’s work on rhythm” - Moscow, “Music” 1986

5.Chinyakov A. “Overcoming technical difficulties on the button accordion” - Moscow, “Music” 1982

6. Yakimets N. “System of initial training in playing the button accordion” - Moscow, “Music” 1990.

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Introduction

The art of playing the button accordion is a relatively young genre that received widespread development only in Soviet times. The system of music education for performers of folk instruments began to take shape in the late 20s and early 30s of the 20th century. This important initiative was warmly supported by major figures of public education and art (A.V. Lunacharsky, A.K. Glazunov, M.I. Ippolitov-Ivanov, V.E. Meyerhold, etc.). Talented musicians various specialties selflessly shared their professional experience with performers on folk instruments and in a short time helped them enter the world of great music; At present, thousands of specialists - performers, conductors, teachers, methodologists, and artists of musical groups - are successfully working in the field of folk instrumental art; Therefore, practical successes in performance and pedagogy gradually created the basis for generalizing the accumulated experience in educational and methodological manuals.

It should also be noted that the introduction into practice of the most progressive type of instrument - the ready-made button accordion - significantly influenced the entire process of training accordion performers: in a short period of time the repertoire changed radically, the expressive and technical capabilities of performers expanded disproportionately, and the general level of performing culture noticeably increased. Significant changes began to occur in the methods of training and educating a new generation of button accordion players; The criteria that began to be applied to pedagogical and methodological developments also grew: the principles of scientific validity and close connection with practical activities(for example, to date, a number of dissertations have been defended on various problems of musical pedagogy, psychology, history and theory of performance in the field of folk instrumental art: thus, significant achievements in musical and artistic practice and pedagogy receive a solid scientific and theoretical basis, which in turn stimulates their further development).

Honored Artist of the RSFSR, laureate of international competitions, associate professor at the State Musical-Pedagogical Institute named after. Gnesinykh Friedrich Robertovich Lips himself is the best example of a modern accordion player - an erudite, educated musician, brought up in the best traditions of domestic and foreign musical culture. Based on the best achievements of the Soviet accordion school, a leader in the international arena since the 70s of the last century, and thoughtfully summarizing his extensive personal and collective performing experience, the maestro was able to examine in detail the central problems of the accordion player’s performing skills - sound production, performing technique, issues of interpretation of a musical work and the specifics concert performances - in his “The Art of Playing the Accordion”, which has deservedly become one of the main recognized methods for training young performers.

F. Lips's methodology is distinguished by continuity, careful preservation of the best and most valuable, the development of progressive trends, views, directions and the closest connection with performing and pedagogical practice: for example, when considering the problems of sound production, he refracts the experience of musicians of other specialties in accordance with the specifics of the button accordion (especially when performing transcriptions), warning against blind imitation of the sound of other instruments - with a different nature of sound formation. Performance technique (a set of performing means that every musician, ideally, should master in full), according to F. Lips, is not an end in itself for the teacher/student, but is aimed at embodying a particular musical image by extracting a sound of the appropriate nature. To do this, you need to have a good understanding of all the components of this complex, practically feel and consolidate the finest gaming skills, and develop your own individual artistic technique based on general principles. Such elements of the complex include staging skills (landing, installation of the instrument, hand positions), elements of button accordion technique, and fingering.

The important provisions of the methodology also include the following:

staging as a process unfolding over time;
creative approach to working on elements of button accordion technique;
the principle of weight support when playing the button accordion (accordion);
principles of artistic conditioning of fingering.

What is especially valuable for me as a teacher in F. Lips’s methodology is that the author offers co-creation: without presenting his recommendations as the “ultimate truth,” he proposes to believe them in concrete practice, to apply the conclusions he made to his everyday teaching activities and recommendations and, based on your experience, draw your own conclusions, i.e. inspires personal exploration and individual creativity.

The extensive personal experience of a musician-performer and teacher is visible in the attention that F. Lips pays to the development artistic taste accordion player, because the embodiment of the composer's concept in the real sound of the instrument is the most important, responsible and difficult a problem for any musician: almost all tasks of performing art are concentrated here - from a deep study of the text, content, form and style of the work, careful selection of the necessary sound-expressive and technical means, through the painstaking implementation of the intended interpretation in everyday polishing to concert performance in front of listeners. Constant reliance on the high principles of art, determination and search for something new, artistically valuable, expansion of means of expression and comprehension of the intricacies of style, content and form, improvement of skill and deepening of professionalism - these are the main tasks that every musician should face.

The methodology itself is distinguished by the clarity of the organization of the learning process, brevity, which, however, includes many techniques for stimulating the student’s creative searches, leaving room in the creative field: the student, beyond his desire or readiness, finds himself in a situation of unexpected excitement from the tactful but persistent tasks of the teacher: “think”, “try”, “take a risk”, “create”, etc. (thus a “provocation” to improvise is created); The student always feels the creative energy of the lesson, in which he is required to be able to give his game originality and originality. Semantic emphasis is placed on strokes, techniques, and nuances, while minor flaws of the student are ignored. This is the art of creating creative dynamics and clearly holding main idea(goal) allow students to believe in themselves, to feel at least for a moment the state of a musician “without an Achilles heel”, without which real miracles of self-knowledge and self-display are impossible - the true goals of the educational process.

Formation of sound expressiveness

As you know, art reflects real life through artistic means and in artistic forms. Each type of art has its own means of expression. For example, in painting one of the main means of expression is color. In musical art, from the entire arsenal of expressive means, we will undoubtedly single out sound as the most important: it is the sound embodiment that distinguishes a work of musical art from any other, “sound is the very matter of music"(Neuhaus), its fundamental principle. There is no music without sound, so the main efforts of the performing musician should be aimed at developing sound expressiveness.

For successful performing and teaching activities, each musician must know the specific features of his instrument. Modern button accordion and accordion have many natural advantages that characterize the artistic appearance of the instrument. Speaking about the positive qualities of the button accordion/accordion, we, of course, will first of all talk about its sound advantages - about the beautiful, melodious tone, thanks to which the performer is able to convey a wide variety of shades of musical and artistic expressiveness. There is sadness, sadness, joy, unbridled fun, magic, and sorrow.

Means of articulation

The sound process of each sound extracted can be divided into three main stages: attack of the sound, the immediate process within the sounding tone (leading the sound), and the end of the sound. It must be borne in mind that the real sound is achieved as a result of the direct work of the fingers and the bellows, and both the ways in which the fingers touch the keys and the movement of the bellows constantly complement each other, which should always be remembered.

We can give a brief summary of the three main ways of such interaction (according to V.L. Pukhnovsky):

Press the desired key with your finger, then move the bellows with the necessary force (the so-called “articulation with bellows” - according to Pukhnovsky’s terminology). The cessation of sound is achieved by stopping the movement of the bellows, after which the finger releases the key. In this case, the attack of the sound and its end acquire a smooth, soft character, which, of course, will change depending on the activity of the fur.
Move the bellows with the required force, then press the button. The sound stops by removing the finger from the key and then stopping the bellows (finger articulation). Using this technique of sound production, we achieve a sharp attack and ending of the sound. The degree of sharpness here will be determined along with the activity of the bellows, the speed of pressing the key, in other words, the feature of the touch.
With bellows-finger articulation, the attack and ending of the sound are achieved as a result of the simultaneous work of the bellows and the finger. Here again it should be emphasized that the nature of the touch and the intensity of the bellows will directly influence both the beginning of the sound and its ending.

Pressure It is usually used by accordionists in slow sections of a piece to achieve a coherent sound. In this case, the fingers are located very close to the keys and can even touch them. The brush is soft, but not loose, it should have a feeling of purposeful freedom. There is no need to swing. The finger gently presses the desired key, causing it to smoothly sink all the way. Each subsequent key is pressed just as smoothly, and simultaneously with pressing the next key, the previous one softly returns to its original position. When pressing, the fingers seem to caress the keys.

It is extremely important for the accordion player to ensure that during coherent finger play, the force necessary only to press the key and fix it in place is used. point of emphasis. You should not put pressure on the key after feeling the “bottom”. This will only lead to unnecessary stress on the hand. It is very important that this situation is taken into account by all teachers at the initial stage of education - after all, clenched hands do not suddenly arise in schools and conservatories.

Push, like pressing, does not require swinging the fingers, however, unlike pressing, “the finger quickly plunges the key all the way and pushes away from it with a quick wrist movement (these movements are accompanied by a short jerk of the bellows).” Using this method of sound production, staccato-type strokes are achieved.

Hit preceded by a swing of the finger, hand, or both. This type of ink is used in separate strokes (from non legato to staccatissimo). After extracting the desired sounds, the gaming device quickly returns to its original position above the keyboard. This quick return is nothing more than a swing for a subsequent strike.

Slip(glissando) is another type of touch. Glissando is played from top to bottom with the thumb. Due to the fact that the keys of the button accordion on any row are arranged in minor thirds, a single-row glissando sounds on a diminished seventh chord. By sliding along three rows at the same time, we can achieve a chromatic glissando, which has its own attractiveness. Glissando up the keyboard is performed using the 2nd, 3rd and 4th fingers. The first finger, touching the pad of the index finger, creates a comfortable support (it looks like sliding with a bunch of fingers). In order to achieve chromatic rather than random sliding, it is recommended to place your fingers not parallel to the oblique rows of the keyboard, but slightly at an angle and with the index finger in a leading position.

Techniques for playing with fur

The main techniques for playing with fur are squeezing and squeezing. All others are basically built on various combinations expansion and compression.

One of the most important qualitative indicators of an accordion player’s performing culture is the skillful change of direction of movement or, as they say now, fur change. At the same time, it must be remembered that musical thought should not be interrupted during the change of bellows. It is best to change the bellows at the moment of syntactic caesura. However, in practice, it is not always possible to change the bellows at the most convenient moments: for example, in polyphonic pieces it is sometimes necessary to change the bellows even on a prolonged tone. In such cases it is necessary:

a) listen to the duration of the note until the end before changing the bellows;

b) change fur quickly, avoiding the appearance of caesura;

c) ensure that the dynamics after changing the bellows do not turn out to be less or, as happens more often, more than necessary according to the logic of the development of music.

It seems that small movements of the performer’s body to the left (when expanding) and to the right (when squeezing) can also contribute to a clearer change of bellows, helping the work of the left hand.

In academic music making, fur control should be strict; when unclenching, the fur is moved to the left and slightly downward. Some button accordion players “raise the bellows” by describing a wavy line with the left half-body and moving it to the left and 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 adaptations of folk songs, there are often variations set out in sixteenth notes, where sometimes you can hear a change in bellows not before the downbeat, but after it. Obviously, accordionists in these cases are keen on bringing the passage to its logical peak, but they forget that the strong beat can be extracted by jerking the bellows in the opposite direction, while avoiding the subsequent unnatural break between sixteenth notes.

It is known that playing the button accordion requires great physical effort. And, if G. Neuhaus constantly reminded his students that “the piano is easy to play!”, then in relation to the button accordion we can hardly exclaim something similar. It is difficult for an accordion player to play loudly and for a long time, since holding the bellows takes a lot of strength, especially when playing while standing. At the same time, by approaching Neuhaus’s aphorism creatively, we will come to the conclusion that when playing any instrument, you need a feeling of comfort, if you want comfort, moreover, pleasure. One must constantly feel freedom, and freedom, so to speak, aimed at realizing specific artistic goals. The effort required when working with bellows sometimes, unfortunately, causes pinching of the arms, neck muscles, or the entire body. The accompanist needs to learn to rest while playing; when working some muscles, say, to release, you need to relax the muscles that work to compress, and vice versa, and you should avoid static stress on the gaming machine during the performance, even when you have to play while standing.

Harmonists have long been famous in Rus' for their masterly playing of bellows. Some types of harmonics produced different sounds when the same key was pressed; playing such instruments required great skill from the performers. There was also such an expression: “shake the bellows.” By shaking the bellows, the accordion players achieved a unique sound effect that anticipated the appearance of the modern bellows tremolo. It is curious that in foreign original literature the tremolo is designated as bellows. in English words- Bellows Shake, which literally means: “shake the fur.” Nowadays, it has become fashionable among accordionists to compare the role of the bellows with the role of the violinist’s bow, since their functions are largely identical, and the art of violin has always had a lot of characteristic strokes performed precisely with the bow.

Strokes and ways of their implementation

Musical performance includes a whole complex of strokes and various sound production techniques. Among accordion players, to this day, unified definitions of strokes and playing techniques have not yet been formed; there is confusion as to whether there is a difference between the method of playing and the technique, between the technique and the stroke. Sometimes they even put an equal sign between these concepts. Without pretending to be categorical, let’s try to define the concepts of stroke, technique and method. A stroke is a sound character determined by specific figurative content, resulting from a certain articulation.

Let's consider the characteristic features of the main strokes and methods of their execution.

Legatissimo– the highest degree of coherent play. The keys are pressed and lowered as smoothly as possible, while overlapping sounds should be avoided - this is a sign of undemanding taste.

Legato- connected game. Your fingers are placed on the keyboard; there is no need to lift them high. When playing legato (and not only legato), you should not press the key with excessive force. The accordion player must remember from the first steps of learning that the strength of the sound does not depend on the force of pressing the key. The force that overcomes the resistance of the spring and holds the key in a resting state is quite sufficient. When playing the cantilena, it is very important to sensitively touch the surface of the keys with your fingertips. “The key needs to be caressed! The key loves affection! She only responds to it with the beauty of sound! - said N. Mettner. “...the tip of the finger should, as it were, grow together with the key. Because this is the only way to create the feeling that the key is an extension of our hand” (J. Gat). There is no need to prick with hard, hard fingers.

Portato- a connected game in which the sounds seem to be separated from each other by a slight finger push. This touch is used in melodies of a declamatory nature, most often performed with a light finger strike.

Tenuto– maintaining sounds exactly in accordance with the specified duration and dynamics; belongs to the category of separate strokes. The beginning of a sound and its ending have the same shape. Performed with a blow or push while driving the fur evenly.

Detache- a stroke used in both connected and incoherent games. This is the extraction of each sound by a separate movement of the fur to expand or compress. The fingers may remain on the keys or move away from them.

Marcato– emphasizing, highlighting. Performed with an active strike of the finger and a jerk of the fur.

Non legato– not coherent. It is performed by one of the three main types of touches with smooth movement of the fur. The sounding part of the tone may vary in duration, but not less than half the specified duration (i.e., the sounding time must be at least equal to the non-sounding time). This stroke acquires evenness precisely in the case when the sounding part of the tone is equal to the artificial pause (non-sounding part) that occurs between the sounds of the melodic line.

Staccato- sharp, abrupt sound. It is usually removed by swinging a finger or hand while moving the fur evenly. Depending on the musical content, this touch may be more or less sharp, but in any case, the actual duration of the sound should not exceed half the note indicated in the text. Fingers are light and collected.

Martele– accentuated staccato. The method of extracting this stroke is similar to that of marcato, but the nature of the sound is sharper.

The marcato and martele strokes should be given more attention in the work, since they are important means of expression for the accordion player. Unfortunately, one often hears smooth, unexpressive fur play, and there is no mobility when playing various strokes and techniques with fur.

Staccatissimo– the highest degree of sharpness in sound. It is achieved with light blows of the fingers or hand, while it is necessary to monitor the composure of the gaming machine.

Registers

You should always remember that registers are not a luxury, but a means to achieve a more impressive artistic result. They need to be used wisely. Some button accordion players switch them literally every one or two bars, while the phrase and thought are fragmented, and registration turns into an end in itself. Everyone knows how skillfully the Japanese select lovely bouquets of several flowers, which looks much more attractive than the tasteless combination of many flowers into one bouquet. I think that to some extent you can compare the art of arranging bouquets with the art of registering.

Some accordion players always use registers with octave doublings (most often - “accordion with piccolo”). However, when a melodious folk melody or a recitative theme is played, it is appropriate to use single-voice registers, as well as unison.

The "tutti" register should be reserved for climax episodes, for pathetic, solemn and heroic sections. It is best to change registers at some important or relatively important key moments: on the edges of a form section, when increasing or decreasing the number of votes, changing the texture, etc. Particular rigor should be used when selecting registers in polyphony. Fugue theme exposition, as a rule, is not played on the tutti register. It is better to use the following timbres: “bayan”, “bayan with piccolo”, “organ”.

Dynamics

Almost every musical instrument has a relatively large dynamic range, which extends conventionally within ppp – fff. Some instruments (organ, harpsichord) do not have the ability for flexible dynamic nuances. A number of wind instruments in certain tessituras are dynamically slow, since they can only produce sounds, for example, with the nuance f or only p. Bayan was lucky in this regard. It perfectly combines a relatively large dynamic amplitude with the finest sound refinement within the entire range.

As you know, in the process of sound formation on the button accordion, the most important role belongs to fur. If we draw an analogy between a piece of music and a living organism, then the bellows of the button accordion performs the function of lungs, breathing life into the performance of the piece. Fur, without exaggeration, is the main means of achieving artistic expression. Do all button accordion players know the dynamic capabilities of their instrument down to the subtleties, do they all have sufficient flexibility and mobility in mechanics? It is unlikely that we will be able to answer this question in the affirmative. Sensitive, careful attitude students must be instilled in sound from the very first steps of learning. Every accordion player must know all the intricacies of his instrument and be able to use dynamics in any nuance, from pp to ff. If we press a key and move the fur with minimal effort, we can achieve a fur control mode in which the fur diverges (or converges) very slowly and there is no sound. In accordance with the apt terminology of G. Neuhaus, in this case we will get “some zero”, “not yet sound”. By slightly increasing the tension of the bellows, we will feel and hear the origin of the sound on the button accordion. This feeling of the edge, after which the real sound appears, is extremely valuable for an accordion player. A lot in this case depends on the demands of auditory control, on the musician’s ability to listen to silence. If for an artist the background for a drawing is a blank sheet of paper, a canvas, then for a performer the background for music is silence. A musician with a sensitive ear can create the finest sound recording in silence. The ability to listen to pauses is also important here. Filling a pause with content is the highest art: “The tense silence between two phrases, itself becoming music in such a neighborhood, gives us a presentiment of something more than a more definite, but therefore less extensible sound can give” 1. The ability to play pianissimo and keep the audience in suspense always distinguishes true musicians. It is necessary to achieve the flight of sound with minimal sonority, so that the sound lives and carries into the hall. The stagnant, deathly sound in piano will touch few people.

In the chord texture, you need to ensure that all voices respond with minimal sonority. This is especially true for the last chord in any slow piece, which should sound morendo. The accordion player should hear the end of the chord in its entirety, and not drag it out until the sounds fall silent one by one. You often hear a disproportionately long sound of the last chord in pieces, both on f and p. The final chords must be “pulled with the ear” and not with depending on fur stock.

By increasing the tension of the bellows, we will get a gradual increase in sonority. With the fff nuance, there also comes a point after which the sound loses its aesthetic appeal. Under the influence of excessive pressure of the air stream in the resonator holes, metal voices acquire an excessively sharp, shrill sound, some of them even begin to detonate. Neuhaus described this zone as “no longer sound.” The accordion player must learn to sense the sonic limits of his instrument and achieve a full, rich, noble sound in fortissimo. If you demand more sound from an instrument than it can produce, the nature of the button accordion, as already mentioned, will “revenge”. It is useful to carefully follow the sound from its inception to fortissimo. In the process of increasing sonority, we will be able to hear a huge wealth of dynamic gradations (common designations: ppp, pp, p, mf, f, ff, fff - in no way give a complete idea of the diversity of the dynamic scale).

We must learn to use the entire dynamic amplitude of the button accordion, but students often use dynamics only within the limits of mp - mf, thereby impoverishing their sound palette. It is also typical to fail to show the difference between p and pp, f and ff. Moreover, for some students f and p sound somewhere in the same plane, in the average dynamic zone - hence the dullness and facelessness of the performance. In similar cases, K.S. Stanislavsky said: “If you want to play evil, look for it. Where is he good! In other words: if you want to play forte, show a real piano for contrast.

On this occasion, G. Neuhaus said: “Maria Pavlovna (mp) should not be confused with Maria Fedorovna (mf), Petya (p) with Pyotr Petrovich (pp), Fedya (f) with Fyodor Fedorovich (ff).”

A very important point is also the ability to distribute crescendo and diminuendo over the required length of musical material. The most typical shortcomings in this regard are the following:

The necessary crescendo (diminuendo) is performed so sluggishly, limply that it is almost not felt.
Strengthening (weakening) the dynamics is not done poco a poco (not gradually), but in jumps, alternating with even dynamics.
Crescendo is played smoothly and convincingly, but there is no climax; instead of a mountain peak, we are offered to contemplate a certain plateau.

It is necessary to always remember the goal (in this case, the culmination), because the desire for it presupposes movement, a process, which is the most important factor in performing arts.

We often use the expressions: “good sound”, “ bad sound" What is meant by these concepts? Advanced pedagogical thought in the art of music has long come to the conclusion that there can be no “good” sound in the abstract, without connection with specific artistic tasks. According to Ya. I. Milstein, K. N. Igumnov said: “Sound is a means, not an end in itself, best sound the one that most fully expresses the given content.” We find similar words and thoughts in Neuhaus and many musicians. Hence the conclusion that everyone needs to make: it is necessary to work not on the sound in general, but on the correspondence of the sound to the content of the piece being performed.

The main condition for working on sound is a developed auditory representation - “pre-hearing”, which is constantly corrected by auditory control. There is a close relationship between sound production and hearing. Hearing controls the sound being produced and gives the signal for the subsequent sound to be produced. It is very important to constantly listen to yourself and not let go of your attention for a moment. He weakened his attention and auditory control - he lost power over the public. A musician's hearing is formed by working on sound; the ear becomes more demanding. There is also a feedback here: the finer the hearing, the more demanding the ear is for sound, and, accordingly, the higher the performer as a musician.

About phrasing

Any piece of music can be associatively imagined as architectural structure, characterized by a certain proportionality of its constituent parts. The performer is faced with the task of combining all these parts, including the melody of the vocals, into a single artistic whole, building the architectonics of the entire song. It follows that the execution of a motive, phrase, etc. depends on the general context of the work. It is impossible to play a single phrase convincingly without taking into account what happened before it and what will happen after it. Competent phrasing presupposes expressive pronunciation of the components of a musical text, based on the logic of development as a whole. There is a great similarity between a colloquial phrase and a musical one: in a colloquial phrase there is a reference word, in musical - we have similar components: supporting motif or sound, its own punctuation marks. Individual sounds are combined into intonations and motifs just like letters and syllables into words, and these words (words) can be pronounced with many different intonations: affirming, plaintive, pleading, enthusiastic, interrogative, joyful, etc. and so on. The same can be said about the pronunciation of the motives that make up a musical phrase. Each phrase cannot be thought of locally, in isolation: the performance of a given particular phrase depends on the previous and subsequent musical material and, in general, on the nature of the entire piece as a whole.

A motive, a phrase is only a minimal part of the overall development in a work. Those performers who play with a clear sense of perspective and purpose make people listen to themselves. Without seeing (hearing) the perspective, performance stands still and causes inexpressible boredom. We should never forget the well-known truth: music as an art form is sound process, music is evolving in time. However, with a constant desire to unify musical speech, one should also achieve its natural logical division with the help of caesuras. Correctly realized caesuras bring musical thoughts into order.

It is useful for instrumental musicians to listen to good singers, since the phrase performed by the human voice is always natural and expressive. In this regard, it is useful for accordionists (and not only them) to sing some themes in the work with their voices. This will help identify logical phrasing.

Technique

What do we mean by the concept of “technology”? fast octaves? Openwork, lightness? But we know that bravura in itself never guarantees a highly artistic result. On the contrary, there are many examples where a musician who does not show himself to be a record holder at super-fast tempos. He made an indelible impression on his listeners. In our dictionary there is such a concept - craft. This concept includes the entire complex of technological means-skills of a performing musician necessary to realize his artistic intentions: various techniques of sound production, fingers, motor skills, wrist rehearsal, techniques for playing the button accordion with bellows, etc. When we talk about technology, we have mind spiritual a craft subordinated to the creative will of the performing musician. It is precisely the inspiration of interpretation that distinguishes the playing of a musician from the playing of a craftsman. It is not without reason that they say “naked technique” in connection with the fast, but thoughtless, empty running on the keys, not organized by clear and logical artistic intentions.

The highest manifestation of technical excellence in the musical and performing arts, as well as in any sphere of human activity, is called skill.

Staging

You need to sit on the front half of a hard chair; if the hips are positioned horizontally, parallel to the floor, then we can assume that the height of the chair corresponds to the height of the musician. The accordion player has three main points of support: support on the chair and support with his feet on the floor - for ease of support, it is better to spread his legs slightly apart. However, if we feel almost all of our weight in the chair, then we will achieve a heavy, “lazy” position. You need to feel one more point of support - in the lower back! In this case, the body should be straightened, the chest should be moved forward. It is the feeling of support in the lower back that gives lightness and freedom to the movements of the arms and torso.

The instrument must stand steadily, parallel to the accordion player’s body; the fur is located on the left thigh.

Practice shows that the most acceptable adjustment of the shoulder straps should be considered to be one in which the palm can be moved freely between the accordion body and the performer. In recent years, a belt connecting the shoulder straps at the lumbar level has become increasingly widespread. This innovation can only be welcomed, since the belts now acquire the necessary stability and do not fall off the shoulders. The operating strap of the left hand is also adjusted to allow the hand to move freely along the keyboard. At the same time, when opening the edge and squeezing it, the left wrist should feel the belt well, and the palm should feel the body of the instrument.

The main criterion for the correct placement of hands is the naturalness and appropriateness of movements. If we lower our arms along the body in free fall, the fingers will take on a natural half-bent appearance. This position does not cause the slightest tension in the area of the hand apparatus. By bending our elbows, we find the starting position for playing the button accordion and accordion. Left hand, of course, has some differences in setting, but the feeling of freedom of the half-bent fingers, hand, forearm and shoulder should be the same for both hands. Shoulder and forearm create good conditions for the fingers to contact the keyboard, they must help the fingers and hand work with minimal effort.

It is important to pay attention to the fact that the right hand does not hang limply, but is a natural extension of the forearm. Backside the hands and forearm form an almost straight line. Equally harmful are static hand positions with curved or concave wrist.

Fingering

The variety of music requires an infinite number of finger combinations. When selecting fingerings, we are primarily guided by the principles of artistic necessity and convenience. Among the fingering techniques, the following can be distinguished: placing and replacing fingers, sliding, replacing fingers, using all five fingers in a passage, performing a passage with only two or three fingers (or then one), etc. The desire for competent fingering should be inherent in DMSh.

To select fingerings, it is advisable to play some fragments at a tempo, if possible, since the coordination of hands and fingers at different tempos can be different. If the finger sequence is fixed, but after some time its flaws become clear, then the fingering must be changed, although this is not always easy.

The choice of a four- or five-finger fingering system should depend not only on the personal preferences of the accordion player himself, but mainly on artistic necessity. These days, the typhoon of controversy surrounding one or another fingering system seems to have passed. However, sometimes during creative meetings the same question is asked: is it better to play with four fingers or five? Actually, the problem has been solved a long time ago. Players today mostly play with all five fingers, with more or less use of the first finger. Using the five-finger system blindly is a tribute to fashion. Of course, sometimes it is more convenient to place all five fingers in a row, but will this fingering help the accordion player in his artistic intentions? We must take into account the fact that by nature the strength of each finger is different, so it is necessary to achieve rhythmic and stroke evenness in the attack with any finger. In fast passages that should sound like glissando, you can use all the fingers in a row, thereby expanding the boundaries of the position.

The structure of the hand in relation to the right accordion keyboard is such that it is more natural to use the thumb on the first and second rows. The remaining fingers work freely across the entire keyboard.

Questions of interpretation of a musical work

The highest goal of a musician is a reliable, convincing embodiment of the composer’s plan, i.e. creating an artistic image of a musical work. All musical and technical tasks are aimed at achieving an artistic image as the final result.

The initial period of work on a musical work should be associated, first of all, with defining artistic goals and identifying the main difficulties on the way to achieving the final artistic result. In the process of work it develops overall plan interpretations. It is quite natural that later, during a concert performance, under the influence of inspiration, many things may sound new, more spiritual, poetic, colorful, although the interpretation as a whole will remain unchanged.

In his work, the performer analyzes the content, form, and other features of the work, and interprets this knowledge with the help of technique, emotions and will, i.e. creates an artistic image.

First of all, the performer faces the problem of style. When identifying the stylistic features of a musical work, it is necessary to determine the era of its creation. It seems that there is no need to prove that the student’s awareness of the difference, for example, between the music of French harpsichordists and the music of today will give him the most important key to understanding the work being studied. An important help should be familiarity with the national affiliation of a given author (remember, for example, how different the style of two great contemporaries - S. Prokofiev and A. Khachaturian is), with the peculiarities of his creative path and the images and means of expression characteristic of him, and finally, close attention to the history of the creation of the work itself.

Having determined the stylistic features of a musical work, we continue to delve into its ideological and figurative structure, into its informative connections. Programming plays an important role in understanding the artistic image. Sometimes the program is contained in the title of the play: for example, “Cuckoo” by L.K. Daken, “Musical Snuffbox” by A. Lyadov, etc.

If the program is not announced by the composer, then the performer, as well as the listener, has the right to develop his own concept of the work, which must be adequate to the author's idea.

Expressive, emotional transmission of figurative content should be instilled in students in their very first lessons at a music school. It’s no secret that often working with beginners comes down to pressing the right keys at the right time, sometimes even with illiterate fingering: “we’ll work on the music later”! Fundamentally incorrect installation.

Technical training of an accordion player in a music school.docx - Modern technologies in training accordionists and accordionists (about playing to a soundtrack). Techniques for playing the button accordion and accordion by F. R. Lips Techniques for playing with bellows

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1.1 N some prerequisites for primary education

Music is the art of sound, its recreation must fully reveal the content, the meaning of the image, so it’s worth first focusing on the relationship

Thirdly, the social aspect plays an important role, that is, family, everyday and cultural conditions that previously influenced the development of the student.

1.2 Aarticulation and touche

When performing the cantilena, you must strive as much as possible to bring the sound of the button accordion closer to singing, to the human voice.

1.3 Mrhythmic difficulties

1.4 ABOUT features tempo and speakers

The most common mistakes:

2. The performer's attention is directed to overcoming technical difficulties, as a result of which control over rhythm is weakened. This is why technique is so important, it gives freedom and naturalness of expression.

II. Technique

2.1 K Ratkoe p concept of technology and its elements

Essential elements:

1. Taking one sound.

2. Melismas, rehearsals, sequential performance of two or more notes in one position.

3. Single-voice scales, performance of scale-like passages that go beyond one position. Arpeggio.

5. Playing double notes.

6. Chords.

7. Hand transfer and jumps.

8. Performance of polyphony.

Below we will consider some of the means of musical expression necessary for the development of the performing culture of an accordion player.

2.2 Rworking on the strokes

Characteristic features of the main strokes and methods of execution:

2.3 M ehov first techniques

The first attempts to introduce the tremolo into use were made by Konyaev in the “concert piece”, Kuznetsov in “Saratov busts”. They imitated an accordion, or served as a kind of accompaniment to the melody.

Ricochet is an interesting technique, used for the first time

2.4 I playing harmonies

2.5 N independence of fingers and hands

2.6 A fingering and technical phrasing

III. Othersaspects of work on the work

3.1 E aesthetic development

3.2 I interpretation works and development of creative thinking

If your academic performance is high, you can let students finish learning a half-learned piece on their own. A student who copes well with this task can be asked to learn the entire piece on his own. The method of persuasion helps to develop creative initiative.

It should be shown with specific examples how to perform this or that part of the work, why with such a technique and such fingering.

3.3 Kconcert performance

IV. Conclusion

Is there a listteratures

1. Davydov N. A. “Fundamentals of developing the performing skills of an accordion player” - Internet version, 2006.

2. Lips F.R. “The art of playing the button accordion” - Moscow, 1985

3. Neuhaus G.G. “On the art of piano playing” - Moscow, 1958

4. Pankov “On the accordion player’s work on rhythm” - Moscow, “Music” 1986

5.Chinyakov A. “Overcoming technical difficulties on the button accordion” - Moscow, “Music” 1982

6. Yakimets N. “System of initial training in playing the button accordion” - Moscow, “Music” 1990.

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