N. Davydov - Theoretical foundations of the accordion player's skill. The formation of the accordion performing and composing school 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

03.11.2019

Khabibullina Inna Yurievna

MBOUDOD "Children's music school No. 13", Kazan

Development of initial technical skills in the accordion class

Each work of art is the embodiment of a creative concept and the rich imagination of the artist. In the process of realizing his plan, the author mobilizes all his creative will, all his skill, and the higher the artist’s talent and skill, the more impressive and significant the final result appears. Music and performing arts is no exception. But unlike, say, a painter, who records his idea on the canvas and does not need an intermediary between himself and the viewer, a performing musician interprets the composer’s idea. When we talk about this, we first of all mean the artist’s technique, with the help of which he embodies his sound representation of a musical work, his vision (hearing) of an artistic image.

In the process of learning to play the accordion, a music school teacher, along with general educational and musical-artistic tasks, faces the task of developing the technical skills of students.

IN in a broad sense In other words, technique is the material side of performing art, the most important means of conveying the artistic content of a work.

In the narrow sense of the word, technique can be defined as extreme precision and speed of finger movements.

The entire technique of an accordion player or accordionist can be divided into small (finger) and large, as well as the technique of playing with bellows and the technique of sound production, that is, in essence, everything that the student does, starting with touching the key, is a technique. Fine techniques include various scaled and arpeggiated passages, melismas, finger rehearsals, and double notes. To the large scale - finger tremolos, octaves, chords, leaps, wrist technique.

The development of technology largely depends on the natural abilities of the student. But even students with average performing abilities can achieve high technical mastery provided that they work correctly on various types of instructional material: scales, arpeggios and chords, exercises and etudes.

Scales, arpeggios, and chords are the basic technical formulas. Systematic and consistent work on this material is a necessary condition for developing basic gaming skills and abilities. Successful work on scales, arpeggios and chords helps to overcome many technical difficulties:

1) allows you to make a better choice of rational fingering;

2) creates fine and free finger fluency;

3) promotes coordination of movements of both hands;

4) smoothness of driving the fur and changing the direction of its movement;

5) helps to more accurately perform various strokes and nuances using a variety of sound production techniques.

In addition, playing scales, arpeggios and chords helps to consolidate theoretical knowledge in practice and develops a sense of harmony and meter rhythm in students.

The development of technology is successful only if students solve a certain musical problem each time they play a scale or arpeggio, control the nature of the sound with their ears, and observe dynamic shades, strokes, and rhythm.

You need to play scales, arpeggios and chords in a certain size, maintaining the duration.

The study of the scale is preceded by exercises with the execution of all sounds in a row (like a chromatic scale), with a change of bellows: every 3 sounds, 6 sounds. And after this, playing only on white keys.

To position the fingers of your left hand correctly, it is useful to play the scale in “pieces” of 2 or 3 sounds.

Scales usually begin to be studied when the positioning of the arm, hand, and fingers is fixed. They begin to play at a slow pace with an even number of durations for each movement of the fur.

To teach your child to play rhythmically, you can use a metronome.

Arpeggios are split chords. It is also advisable to start learning with exercises. You should try not to look at the keyboard in order for tactile orientation to develop.

The physical category of difficulty is represented by playing chords. Chords are played using wrist movements. The fingers must be prepared to strike the chord in advance, as if in the air. You need to start working carefully at a moderate pace with exercises.

The most comfortable way to play chords at a fast tempo is to play them with your hand, with little involvement of the whole hand. When playing chords, you should not raise your fingers high above the keyboard; they should be in a collected state. When performing a chord progression, you must:

1)simultaneously remove your fingers from the previous chord, without leaving any random overtones;

2) prepare the position of the fingers for the subsequent chord playing;

3) make the appropriate movement of the brush;

4) by simultaneously pressing your fingers on the keys, play a new chord.

METHODS OF PERFORMING GAMMA AND ARPEGGIO.

1ST CLASS

Scales: strokes - legato, non-legato, staccato.

Duration:

2ND CLASS

The scale can be played with different strokes, in different meter-rhythmic combinations. Long arpeggio.

2 EXECUTION OPTIONS:

1) hand transfer;

2) placing the 1st finger, transferring the hand.

The reference sounds need to be highlighted in the arpeggio with a stronger accent and active finger movement. Arpeggios can be used in different strokes and different rhythmic patterns.

Performing arpeggios with both hands is impractical, since the bass sounds of the left keyboard are limited to one octave and, therefore, moving the fingers of the left hand across three keys without moving does not lead to the development of any useful skill, but only makes it difficult to move the right hand.

In working on the development of a student's technique, exercises that are used to develop various skills play an important role: interaction, independence, finger fluency, rapid movement of the hand through wrist movement, etc.

Neuhaus, considering the exercises “as a kind of semi-finished product,” wrote that all exercises are generally necessary to develop contact between the fingers and the keys.

When working on exercises, it is very important that the student clearly understands the purpose of the exercises and the benefits that they can bring, so that he can concentrate as much as possible on the required task and monitor the quality of the game. V. Safonov wrote: “Even in the driest exercises, steadily observe the beauty of sound. The exercise is important to play with vigor and even some sporting enthusiasm. And vice versa, careless playing without proper control over the quality of performance and without specific sound goals disorganizes the student, adversely affecting the performance of the pieces being learned.” (10, p. 52). The learned exercises must be used as training material, consolidating it in memory and in physical sensations, and at the same time begin new exercises.

Work on exercises begins already in the first months of learning to play the instrument, when the position of the hand, arm, and fingers is fixed. For beginners, exercises in performing various sequences within the limits of the hand position (after the child has mastered the legato stroke) are very useful. You should start with the simplest exercises - linking 2 - 3 adjacent sounds in order to gradually reach the performance of 5 sounds.

We do not press the keys deeply. Five-finger exercises should be used not only at the beginning of training, but also in middle and high school. At the same time, it is necessary to vary the exercises all the time and achieve better quality of execution, greater evenness, clarity, and increased tempo. As an example, we can cite exercises from the collection of C. Ganon “The Virtuoso Pianist”. The exercises are structured in such a way that the hand “works” in one direction and “rests” in the other (conditionally).

When playing the exercises, the fur should be tense, the breath should be taken on each figure, the pulsation should be clear, the hand should be free, we work with the keyboard (i.e., the fingers do not rise high above the keyboard). We do not press the keys deeply.

Independence of the fingers is well achieved when playing exercises with thirds, sixths, and two-voice exercises. They should be learned at a slow pace, raising the fingers high, already in the first year of study.

Rehearsal is the rapid, repeated production of the same sound with alternating fingers. Rehearsal is usually performed with two strong fingers. It is also necessary to play with other fingers, which helps to achieve clarity in sound and more free performance. The rehearsal is performed using light wrist movements on the first note.

There are 2 types of tremolo:

1) tremolo on the keyboard;

2) bellows tremolo.

Tremolo on the keyboard is a quick and repeated alternation of two non-adjacent sounds or two consonances (intervals, chords or a separate sound and consonance):

Bellows tremolo - rapid repetition of the same sound or consonance by changing the movement of the left side of the instrument. In this case, the fingers pressing the keys are not removed from the keyboard. When playing a tremolo with a bellows, there are 3 points of support: the thumb on the bar, the strap on the left keyboard, and the forearm.

Along with the right hand, it is also necessary to train the left hand. And in this work, first of all, it is necessary to solve the problem of uniform development of all four playing fingers (except for the thumb).

The fingers of the left hand develop well in minor scales because When playing, the 4th and 5th fingers are involved.

A good way to overcome technical difficulties in a piece are exercises based on elements of technically difficult parts of the piece being learned. Such exercises can be selected or composed by the students themselves and consist of the most complex phrase, any passage, or include 2-3 elements following each other in the work.

Sketches play a major role in the development of technology. The significance of this genre lies in the fact that etudes allow you to focus on solving typical performance difficulties and that they specifically combine technical tasks with musical tasks.

Thus, the use of sketches creates the prerequisites for fruitful work on technique. The inclusion of a particular sketch in the curriculum can be determined by two objectives:

1) mastery and development of a certain type of technology;

2) preparing students to overcome technical difficulties in a work of art.

In the first case, the goal of the student’s diversified development is pursued. His program consistently includes studies on various types of technology, and each study should be slightly above the student’s capabilities, thereby ensuring his constant technical growth. In the second case, you need to take sketches that contain the type of technique and those elements of movement that are found in the work, and are also close in the nature of the music. The difficulty of the sketches should not exceed the student’s development level.

Work on sketches must be carried out in a certain sequence:

1) Study the construction of the sketch and determine the technical task in order to have a clear idea of the volume and nature of the work ahead. Parse the text in detail, establish the fingering;

2) Start learning the etude, working on the most difficult parts in parts. This work should begin with exercises containing characteristic elements difficult places.

3) In etudes written for the development of the right hand, pay attention to the execution of accompaniment with the left hand and vice versa;

4) Simultaneously with the assimilation of the text of the sketch, monitor the implementation of phrasing, accents, dynamics, determine the boundaries of the movement of the fur;

5) You need to play the etude at different tempos, without getting used to any one. Start at a slow pace, constantly returning to it as you work;

6) Learning a text by heart should occur in the course of mastering its technical and artistic features.

In my report I would like to note once again that work on technique should be carried out with the student systematically and purposefully. Pay attention to individual characteristics students and the level of their preparation, the teacher can draw up a specific program of work on technology for each of them.

Theorists of musical and performing arts are unanimous in that it is impossible to endlessly perform various technical exercises and abstractly practice hand techniques in isolation from specific artistic and performing tasks. A fairly common misconception is that technique is just about the speed of the fingers, while everything that a performing musician does is technique: sound production technique, bellows technique, small technique, large technique, etc. to improve the technique, a clear presentation of the sound result helps to a greater extent: “Make sure that the mental sound picture becomes clear, the fingers must and will obey it,” wrote the famous pianist I. Hoffmann. Everyday painstaking work on technically difficult areas is required. If there are familiar elements of technique - rehearsals, scales - and arpeggio-like passages, then, as a rule, they do not require much time. But very often there are also unusual figurations that require special, additional efforts to master them. Here it is important to find your own method - the shortest way to achieve the desired result. Unfortunately, teachers do not always help students in their search for required method. As a result, some students work for hours on one passage, madly rushing through it at a fast pace, but there is still no quality. In technically difficult places, it is always important to realize: what exactly is not working? In such cases, for example, the famous pianist A. Cortot advised: “Instead of repeating the text many times, identify difficult elements and create exercises based on them.”

When working on technically difficult areas special role should be played at a slow pace. Such activities are useful for developing automated finger movements. However, mechanically tapping each note of a passage at a slow tempo is unlikely to bring tangible benefits. The rhythmic aspect, phrasing, and nuance must necessarily correspond to the piece being performed, both at a fast and slow tempo. At the same time, in slow motion you cannot think in individual notes: each tone must correlate with the previous and subsequent sound. The main function is performed by the active fingers, not the hand.

To more firmly secure a difficult figure, it is useful to play with it with various figures, including dotted ones. When playing this way, each finger in turn is fixed on the desired key.

In the repertoire of button accordionists and accordionists there will always be works where the same type of technique is used for a long time. Even having a fairly good command of the necessary technical method, sometimes it is physically difficult to endure the play to the end. Here, in addition to endurance, the ability to relieve stress during performance is required. You have to learn this teaching to relax. Each performer should have points in his work when he needs to instantly relax for a short moment. These could be the end and beginning of a phrase or motive, a change in fur, a change in dynamics - in all such cases you can lightly shake your hand or forearm. A slight change in the position of the arms, body, etc. also helps.

One of the most common types of technique for button accordion and accordion players is small technique. Most performers use a staccato touch. But this touch does not always fully reflect the figurative sphere of the work. The staccato stroke is very effective in small technique. It is performed with a lightning-fast finger strike without unnecessary movements. If a sharp, clear, elastic stroke is required, then the fingers should be slightly bent, rounded, in this case they will work like “hammers”. When we achieve the ease of a staccato stroke in a small technique, there can be a tendency to play superficially. This should be avoided.

Any type of technology is attractive precisely when it is used masterfully. “Play fast” and “play masterfully” are not the same thing. Their main difference is that virtuoso playing is the purposeful striving of each, even the smallest technical fragment, towards its logical point.

Based on the composer's intention, the performer will use various technical resources. For a thinking, inquisitive student, it is useful to first analyze mentally and then compare the following in practice: the peculiarities of dynamics in the harpsichord pieces of Couperin, Rameau, Scarlatti and the organ preludes and fugues of Bach. Registration in organ and harpsichord pieces and in arrangements of folk songs. In works of different styles the very nature of the touch will be different. And the performer must hone his technique not in isolation from the musical content, but with this content in front of him as a specific goal. “For me, there is only one - the only valid technique: the one that is completely put at the service of music,” said one of the progressive musicians of our time, P. Casals. It is important for a musician to correctly understand the role of technology in creating an artistic image. Technology should in no way become an end in itself. Technology is a means for creating a musical and artistic image. This means, ultimately, the main thing is not finger dexterity, but a convincing conveyance of the composer’s intention. But this is precisely why it is necessary to have a sufficient supply of technical means. And the richer and more diverse this reserve is, the more real is the possibility of the most complete and convincing transmission of musical content. Based on the above, we can conclude that the role and importance of the performer’s technique cannot be overestimated. If a musician is well aware of the primary task of his performing art (creating an artistic image of a specific work), then he should also understand what titanic work is required to achieve the desired sound image. Speech in in this case This is not about the difficulties of direct implementation, but about the enormous, purposeful technical work that precedes the final result - a public performance.

Bibliography:

1.Birmak A. “On the artistic technique of the pianist.” M. - 1973

2. Bisoni F. “On pianistic skill.” M.-1962

3. Ginzburg L. “On working on a piece of music.” M. - 1981

4. Gvozdev V. “The accordion player’s work on the development of technology.” M. - 1987

5. Demchenko A. “Technical exercises for the button accordion.” M. - 1967

6.Zavyalov V. “Bayan and pedagogy issues.” "Art". - 1992, reissue.

7. Liberman E. “Work on piano technique.” M. - 1971

8. Neuhaus M. “On the art of piano playing.” M. - 1993

9. Lips F “The art of playing the button accordion.” M. - 1997

10. Safonov D. “Everyday work of a pianist and composer.” M. - 1979

11. Ganon S. “Pianist - virtuoso.” “Leningrad” - 1988.

12. Casals P. “The pianist’s work on technique.” L. - 1968

By the end of the 20th century, the Soviet accordion school achieved great success. Nowadays, performing the button accordion and accordion has become an important part of musical culture. This is confirmed by the success of the best button accordion and accordion players on the most prestigious music stages in the world, the emergence of a significant and serious repertoire, a significant improvement in the designs of the instruments themselves, and the active development of scientific and methodological thought.

In this work, it became necessary to trace the history of the formation and improvements of the button accordion as a musical instrument and to study changes in the possible repertoire of button accordion players during the improvement of the button accordion instrument in order to understand the principles of transposing a button accordion work into an orchestra of Russian folk instruments.

The 70s of the 19th century were marked by the appearance of the first chromatic two-row harmonica in Russia, created by N.I. Beloborodov. This invention was a major milestone on the path to the emergence of a qualitatively new musical instrument - the button accordion. At the end of the 19th and beginning of the 20th centuries. Russian masters of Tula, St. Petersburg and Moscow are developing more advanced schemes of three- and four-row chromatic harmonics. Such instruments subsequently became known as Högström system button accordions.

The fundamental moment in the birth of the fundamental design of the button accordion was the initiative of Paolo Soprani, who in 1897 patented a design that became a cardinal, fundamental moment in the creation of the instrument that we call button accordion. In 1907, St. Petersburg master P.E. Sterligov made an improved concert instrument, with a four-row right-hand keyboard. And in 1929, he finally designed a left-hand keyboard with switching of ready-made chords to an elective scale.

Thus, in just a quarter of a century of its development, the button accordion has gone from a household harmonica with imperfect keyboard circuits and limited ready-made accompaniment to a concert ready-made instrument, which received very promising design solutions.

If initially the button accordion was made by hand, solely at the call of the soul, then at the beginning of the 20th century, especially after the revolution, the button accordion began to be mass-produced in special factories.

In 1960, the leading designer of the Moscow Experimental Factory of Musical Instruments, V. Kolchin, created the “Russia” button accordion. In 1962, Yu. Volkovich developed the country's first timbre instrument with a broken soundboard, mass-produced “Soloist”. In 1970, he also produced a four-voice ready-made button accordion of the “Jupiter” brand. In 1971, designer A. Sizov created a concert instrument with 7 registers on a ready-selectable left keyboard.

In addition to the development and improvement of concert multi-timbral ready-made button accordions, the range is expanding and new designs of serial instruments are being created. In 1965, a two-voice ready-made button accordion “Rubin” appeared at the Kirov factory of musical instruments, designed by N. Samodelkin. In 1974, Tula specialists created the “Lefty” button accordion. In 1982, designer V. Proskurdin, together with master L. Kozlov, created the five-voice instrument “Rus” and the four-voice accordion “Mir”.

The accordion became widespread. Harmonicas gradually became a thing of the past, and the button accordion could be seen everywhere: at weddings, dance and concert venues, in clubs and other folk festivals. Possessing great harmonic and timbre capabilities, the button accordion became an indispensable accompanying instrument, like a piano. Relatively lightweight and easy to carry, it was like a small orchestra that combined the capabilities of different instruments.

The merits of the button accordion were also recognized by professional musicians. They began to write works for him, rearrange classics, make complex arrangements (I. Panitsky, V. Zarnov, F. Klimentov, V. Rozhkova, F.A. Rubtsov). Sheet music of special compositions for button accordion players, both beginners and experienced ones, appeared in stores. Accordion classes were opened in schools and music colleges, but people used to call them accordion players in the old fashioned way.

During the war, the button accordion turned out to be an indispensable instrument at the front and in the rear. To his accompaniment, artists performed who came to the soldiers on the firing line, to the wounded - to hospitals, to workers - to factories. Even partisan detachments had their own button accordion players. After the war, along with captured button accordions made in Germany, accordions began to be brought from abroad, which had buttons on the bass and convenient keys for melody, like a piano. One of the first domestically produced accordions was called “Red Partizan”; later other brands appeared.

With the breakthrough in button accordion organology and technology, which occurred with a change in the row of keyboards and fingering principles, and with the timbre-texture restructuring in the sound sphere of the button accordion, the field of view of the accordion technique included the issues of performing polyphony, non-traditional work on the auditory education of young musicians, problem-based learning, analysis of instrumental composition and structural organization of the button accordion orchestra and many others.

The timbre expressiveness of the button accordion acquired a very significant and fundamentally new functionality. The most important quality of orchestralness was established in its sound. The timbre side of accordion music has become an organic part of composition and performance.

The increased interest in polyphonic genres, the appeal to the polyphony of the 17th - 18th centuries indicates the emergence of the button accordion not just as a polyphonic instrument, but as an element of organ culture. The texture and timbre similarity between the organ and the button accordion is noticeable.

Along with the popularity of the instrument and the expansion of the repertoire, the skill of the performers also increased. High-class professionals appeared, and composers no longer considered it shameful to write special works for the button accordion: sonatas, musical pieces, and even concerts for the button accordion with a symphony orchestra. They may not have been comparable to major symphonic works, but overall it was a big step forward.

At the turn of the 1970s - 1980s, in each new work of large accordion form, a new character of presentation was felt. The freedom to choose means and the qualitatively new properties of the button accordion instrument led composers' creativity to quite radical results. The basis of the form _ the musical structure _ receives more free expression. Voices and voice guidance lose their vocal nature, the flow from sound to sound is subject to instrumental logic, where the sharp angularity of jumps, frequent discontinuity and rapidity of the flow of tones are typical. The practice of accordion composing includes all types of musical styles typical of the music of the 20th century.

Confirmation high level development of the accordion and its musical capabilities was the opening of a special conservatory, a higher educational institution for the accordion class. In this area at that time there were no indisputable authorities that dominated the youth, and great creative opportunities opened up for beginning accordion players.

By the end of the 20th century, the domestic accordion school achieved great success. The names of talented performers performing in the largest concert halls in the world became widely known. Despite the fact that the history of the accordion goes back about a century and a half, accordionists began to receive professional musical education only from the late 20s of our century. Over the past period, the accordion art has reached significant heights.

Following the improvement of the art of playing the button accordion, methodological thought was also formed. Prominent Soviet accordionists - performers and teachers - made a significant contribution to theoretical developments. A number of schools, tutorials, manuals, as well as articles on various aspects of pedagogy and performance of the button accordion have appeared. The constantly growing musical culture of accordion players actively influenced the improvement of the design of the instrument itself.

All these important factors could not but affect the formation of the button accordion repertoire and, in particular, the original works created during this period. And each stage in the development of the button accordion brought something fresh and original to the figurative structure, especially texture, to the use of new techniques to achieve new expressive effects, to the structure of the musical language of the works. Over the past decades, a large repertoire has been accumulated, including works of high artistic merit, masterfully written and diverse in forms and genres.

The first attempts to create an original repertoire for the button accordion date back to the 30s. However, the plays of V. Zarnov, F. Klimentov, V. Rozhkov that appeared in that period, and even more so those made unprofessionally by amateur accordion players processing folk songs, could not satisfy the ever-increasing artistic demands of musicians. There was a need for serious large-form works and miniatures on folk themes that could widely reveal the expressive capabilities of the button accordion.

Since the mid-30s, one of the most prominent authors of arrangements of Russian folk songs has been the outstanding Saratov accordion player-nugget I. Panitsky. Having deeply learned and absorbed folk song, he was able to unusually carefully and subtly translate its features.

A major milestone in the development of music for the button accordion were the works created in the mid-40s and early 50s by N. Chaikin, A. Kholminov, and Yu. Shishakov. They showed with great artistic completeness and persuasiveness best qualities characteristics characteristic of these composers: the “sociability” of the intonation structure of the music, the variety of feelings expressed in them, the sincerity of emotional expression. Moreover, if N. Chaikin is more inclined to implement romantic traditions, then in the work of Yu.N. Shishakov and A.N. Kholminov’s direct reliance on Kuchka traditions is noticeable. At the same time, in the works of these authors there is a noticeable desire to maximize the capabilities of the button accordion with ready-made chords in the left keyboard, to enrich musical texture new expressive means (such as two concerts - for accordion with the Russian folk orchestra by Yu.N. Shishakov (1949), Suite for accordion solo by A.N. Kholminov (1950)).

Subsequent generations of composers created works mainly for the modern type of instrument - a multi-timbre ready-made button accordion (A. Repnikov, Vl. Zolotarev, V. Vlasov, etc.).

As in other genres of musical art, among composers working in the field of music for the button accordion, the desire to overcome the well-known academic lethargy and inertia of creative thinking characteristic of some works of the previous time is becoming increasingly clear, and to more actively search for new images and means of their intonation embodiment.

One of the manifestations of the functioning of the button accordion at the turn of the century and to this day? this is his involvement in various jazz and pop instrumental ensembles and typical pop music ensembles, for example: “Pesnyary”, “SS Brigade”, “VV”, “Strelchenko_Band”, “Bryats_Band”, “Romantic Trio”, etc. In the context of modern aesthetics, special attention deserves such a specificity of accordion performance as theatricality, which is expressed in the artists’ deployment “towards the audience”, i.e. facing the listener (spectator), which provides for the mimic-plastic attributes of stage art.

Thus, at the present stage, the problem of repertoire in the context of accordion performance as an integral phenomenon of musical culture and art requires, of course, research from different points of view: from the genetic justification of the aesthetic and art historical prerequisites for its occurrence to the study of the possibilities and prospects for development in the context of the latest artistic movements and trends.

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Course work

Methodology for developing musician's performing skills

Introduction

I. Sound production

1.1 Some background primary education

1.2 Articulation and touche

1.3 Metrorhythmic difficulties

1.4 Features of tempo and dynamics

II. Technique

2.1 Brief concept about 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 work, 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 with the first lessons, already when learning the most simple works You need to strive for expressiveness and meaningfulness of 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 exclusively 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 It is recommended to use glissando as a staging exercise to develop a feeling 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 the 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, and 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 bells emphasizing the strong beats, but this is only permissible in places where there are fingering or other difficulties; abuse of this technique leads to distortion artistic plan works. 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 see, 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 broad concept 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 period 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 typical mistakes- acceleration when performing crescendo and deceleration 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 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 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 slow tempo and 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. Mechanism 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. Usually the thinking of an accordion player 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 metro-rhythmic integrity and clarity of phrasing.

The main principle in selecting the fingering of thirds 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. A good knowledge of vocal music plays an important role in overall musical development. 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 own work. They contribute well to the general development of knowledge from other fields of art. You need to read as much as possible fiction, 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 performing musician 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. At the 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 you should not completely follow his lead, since students often try to play in a way that is easier, and as a result, a discrepancy arises between the style and sound of the work.

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 prepares them 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 performing 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 thoughtful 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 beginning 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 of various specialties unselfishly passed on their professional experience to 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, 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 have also grown: the leading principles for them have become 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 music pedagogy, psychology, history and theory of performance in the field of folk instrumental art: thus, significant achievements of 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. Gnessin Friedrich Robertovich Lips himself is the best example 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 button accordion school, which has been leading 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 central problems accordion player's performing skills - sound production, performance technique, issues of interpretation of a musical work and the specifics of 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 suggests believing them in concrete practice, applying 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.

Big personal experience musician-performer and teacher is visible in the attention that F. Lips pays to the development of the artistic taste of the accordion player, because the embodiment of the composer's plan in the real sound of the instrument is the most important, responsible and difficult 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 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 artistic expression. 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.

You can cite summary 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 fur, 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 the connected playing of the finger, the force necessary only to press the key and fix it at the stop point is used. You should not put pressure on the key after feeling the “bottom”. This will only lead to unnecessary stress on the wrist. 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 the follow-up 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 accordion players “breed the bellows”, describing the left half-body as if wavy line and leading 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 methods of their execution

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 – highest degree connected game. 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 accordionist 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 the art of arranging bouquets can be compared with the art of registering.

Some accordion players always use registers with octave doublings (most often - “accordion with piccolo”). However, when the melodious song is played folk melody or a recitative theme, 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. The fugue theme in the 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 roughly 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 thinning 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. A sensitive, careful attitude to sound must be instilled in students from the first steps of learning. Every button accordionist 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 the artist has a blank sheet of paper or canvas as the background for his drawing, then the performer has silence as the background for his music. A musician with a sensitive ear can create the finest sound recording in silence. The ability to listen to pauses is also important here. Fill the pause with content - the highest art: “The intense 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 provide” 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 by the ear”, and not depending on the supply of fur.

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 mp - mf range, 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, the best sound is 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 perception - “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 musical work can be associatively imagined as an architectural structure, distinguished by a certain proportionality of its component 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 a musical one we have similar components: a reference motive or sound, and 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: affirmative, 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 the constant desire for unification 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, 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 one in which the palm can be freely moved 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. The left hand, of course, has some differences in position, 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. The back of the hand and forearm form almost straight line. Equally harmful are static hand positions with a 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 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, a general plan of interpretation is formed. 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 the very first lessons in 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.

The initial stage of learning to play the button accordion is the most difficult, responsible and significant for a child. The creation of the foundation depends on it further development student. During this period, his attitude towards music, spiritual and aesthetic development is laid.

The first years of education are a unique stage in a child’s musical and professional development. In the process of working with beginning musicians, there are no certain standards in training and education. The main thing in creative process- to form positive motives in the child in music classes. Methods for activating the learning process and increasing interest in playing the button accordion are important here.

All children are born with certain prerequisites for musical inclinations. As of today, entrance exams to the music school have been cancelled. At the first stage, it is very difficult to accurately identify the musical abilities of children who cannot play and to foresee their further development.

It is necessary to interest the child, because attending two schools at the same time with equal responsibility requires enormous psychological, physical and mental stress. Faced with such a volume of information, the child begins to understand that learning is, first of all, work that requires a lot of patience, attention, and many different self-restraints. Not all children can adapt to such a regime, so many experience disappointment and a loss of interest in learning. It is necessary to prevent this critical moment by forming a desire to study at a music school in advance.

The first lessons during this period are mainly of an informational nature. It is important to convey it to the child in a language he understands and, first of all, to captivate him with music. Listen more, talk with the child about the character and mood of the play or song. Be sure to sing it with your student. This involves the child in the “creative kingdom of music.” Individual work gives such an opportunity.

Comparison facts of life, taken from our everyday life, taking into account the interests and hobbies of each child, allow us to convey the necessary program information in a form accessible to him. Through various exercises, visual aid in the form of various pictures, videos, innovative methods of work, the teacher will be able to conduct the lesson in an interesting way and make it memorable for students of different age categories.

Most often you have to work with young children. The physical and mental characteristics of such children require a special approach. They have little perseverance and 45 minutes spent can seem like an eternity for the student and teacher. Working with such children should be done in a playful way. The lesson is divided into several periods: the first 15 minutes are studying the material, the next 5 minutes are rhythmic exercises to music. This can be a waltz, march, polka, square dance, etc., during which the child can perform various dance movements in accordance with the style of music, adhering to a clear rhythm. March - march; waltz - move your hands like a breath of light breeze swaying the branches of trees (hands). Polka, square dance - the usual, simplest movements that children have known since kindergarten - a heel, a toe, or two taps with the legs and three claps with the arms. And finish the musical warm-up with the same march. Such a musical pause develops the child’s imagination, emotionality, and sense of rhythm; relaxes the muscles of the arms, legs and body.

For the next 15 minutes, continue to study a new topic or give the child a task to consolidate the material studied, depending on the complexity new topic. At the end of the lesson, it is important to make sure how much the child has mastered the topic studied and is ready to independently perform homework. Homework is written down in clear, concise language, in the smallest detail, in detail. For example: exercise 1 - with precise fingers, etude by heart 2 lines, play - disassemble separately with each hand, observing the movement of the bellows (compression, release).

Working with students begins with important points for any musician: correct landing, hand placement, instrument position. Unlike violinists and vocalists, who spend many years on positioning their hands and voice apparatus, accordionists deal with this issue very little. But the correct placement of the playing apparatus at the initial stage of training is very important, because the possibility of expressing the composer’s artistic intention in the work depends on it.

The position of the accordion player consists of three components: landing, installation of the instrument, position of the hands. When working on the landing, the student’s anatomical and physiological data should be taken into account, psychological characteristics, as well as the nature of the work being studied.

The correct posture is such that the body is stable, does not restrict the movement of the arms, determines the child’s composure, and creates his emotional state. The correct position is one that is comfortable and creates maximum stability of the instrument and freedom of action for the performer.

You need to sit on the front half of a chair with a hard or semi-hard seat, which is approximately at the level of your knees. For small children, a special stand is placed under their feet or they are seated on a chair with shortened legs. The accordion player has three support points: support on the chair and support with his feet on the floor. The legs should be spread apart for ease of support. However, one more support point should be taken into account - in the lower back. This is what gives lightness and freedom to the movements of the torso and arms. The instrument stands stable, parallel to the student’s body, with the bellows on the left hip. The body should be slightly tilted forward towards the instrument in order to ensure constant body contact with the button accordion. The bar rests on the thigh. It is in this position that the accordion acquires stability when playing “squeeze”. Shoulder straps should be adjusted so that there is a distance between the student’s body and the instrument for free breathing.

In some cases, a belt is used that connects the shoulder straps on the back. This gives the belts stability, so they no longer fall off the shoulders. The left hand operating strap is also adjusted to allow the hand to move freely along the keyboard.

When playing the button accordion, the left hand and the right have different functional activities. Left hand - power hand (squeezing, unclenching the bellows). In this case, the main thing is not to lift the accordion body up with your left hand. Right - solo performance on the keyboard. It is the right hand that requires special attention. The hand should have a rounded shape. In order for the child to hold the desired shape of the hand, you can use objects such as a ball or an apple. By wrapping your fingers around it and rolling it on a hard surface, the child begins to get used to holding the desired shape and automatically sticking to it. The elbow joint should move parallel to the floor, while the muscles of the arm should be free and should not hinder the movement of the arm. You can use exercises such as a wave: clasp your fingers together and draw a wave with smooth movements. Such movements, if done regularly, contribute to the development of flexibility in the joints of the fingers and the shoulder joint, which is also important for the proper development of the gaming apparatus and the position of the hands.

The main criterion for the correct placement of hands is the naturalness and appropriateness of movements. When working on the accordion player’s performance, it is necessary to perform homework occurred under the control of parents. It’s no secret that 90% of success when a student masters a given topic lies precisely in the correct completion of homework. Therefore, the principle of interaction between teacher and parents must necessarily apply in teaching. To do this, it is advisable for parents to attend classes in their children’s specialty. If this is not possible, then at class parent meetings, where they could hear their child play, conduct analyzes of their development, correct adaptation to the instrument, and common mistakes made when performing musical works.

Beginning accordion players of primary school age, in order to gain confidence in their abilities, must be systematically stimulated with verbal encouragement. Evaluate their work and development not with a point system, since it is absent in 1st grade, but, for example, with various pictures (emoticons, or favorite cartoon characters).


Great	Fine	satisfactorily

With this approach, the child will strive to receive the best praise.

When studying theoretical material (music notation, note durations and their location on the staff...), for a better understanding of the terms, it is better to use

visual colorful aid. For example: a whole note is a whole apple, a half note is an apple cut in half, etc.

The turning point and most difficult moment is directly studying the works on the instrument. Before starting to play, the student must know the keyboard well, the structure of the instrument itself, and the principle of sound production.

The bayan consists of three main parts:

1) the right part of the body, to which is attached the neck with the keys located on it (the right keyboard), a strap for the right hand and a large strap for the left hand;

2) the left part of the case with keys on the outside (left keyboard) and a small strap for the left hand;

3) folded fur connecting both parts of the body.

Learning the right keyboard requires special attention. He applies the previously acquired skills and knowledge in practice, under the strict supervision of the teacher, without pressing any keys. To begin with, he moves his right hand up and down the keyboard, observing all the rules for the position of the gaming machine.

The muscles should be free and without tension in arm movements. The peculiarity of the structure of the right keyboard of the button accordion makes it possible for musicians to play despite it (blindly).

On the fretboard of the right keyboard body there are three rows of main and auxiliary keys. The rows are counted from the side of the fur. Main white keys: on the 1st row C, A; on the 2nd - E, G; 3 - si, re, fa. Sounds are produced on the button accordion by moving the bellows and pressing the keys at the same time. You should press the keys calmly, without much effort, since the volume of the sound depends on the movement of the bellows, and not on the force of pressing the keys with your finger. The air pumped by the bellows enters the open hole with the key and sets the steel plate - the “voice” - into oscillatory motion. When you remove your finger from the key, the hole closes, air stops flowing to the “voice”, and the sound stops. It is not allowed to open and close the bellows without pressing keys or a special vent valve, which some button accordions have on the left side of the body. With weak movement of the fur, the sound is quiet, with more energetic movement - loud, with excessive effort - very sharp and unpleasant to the ear. You only need to drive the fur with your left hand. The right hand should not take part in handling the fur. You cannot help the movement of the fur with your feet. Proper bellows control is fundamental to expressive and meaningful musical performance.

Lessons with beginning musicians should be conducted in a varied and interesting way, with a systematic change of activities. Over the course of many years of study at a music school, children must listen a lot, be able to talk about music and musical works, be able to analyze a musical text, perceiving a certain artistic image through means musical expressiveness. In the first lessons, children should not only master the theoretical basics of music, but also learn to clearly intonate a melody with their voice, select it from different keys on the instrument, and gain the ability to hear the harmonic accompaniment to it. First of all, it is necessary to teach the child to feel the logical connection of the musical sounds that form a melody. There are times when students performing complex pieces cannot reproduce (play or sing) from memory the melody of an already memorized piece. The reason for this phenomenon lies in the fact that the initial pedagogical process was structured incorrectly: the teacher paid attention to the craft and technical side of teaching, forgetting about musical development. When learning the simplest melodies and songs, they should instill in children a correct auditory perception of the melody. At the same time, it is necessary to remember that melodious performance and beautiful phrasing are associated with the correct mastery of playing “legato”. It is best to start your lessons by developing a good “legato” performance of the “legato” melody.

It must be borne in mind that real good sound is achieved as a result of the direct work of the fingers and the bellows, and both the ways of touching the keys with the fingers and the movement of the bellows constantly complement each other and, which should always be remembered, are mutually dependent on the specific music being performed. Exercises on non legato, legato it is useful to play with the transfer of the hand from octave to octave, while feeling the freedom of the hand. The types of creative work in special accordion lessons are very diverse; they captivate little musicians who begin to feel themselves and their importance in the musical world with the first success, with the first creative work. Typed independently in the “Final” program, the musical text is a masterpiece for beginning musicians. They begin to feel involved with music, with the skill of composition, and begin to study with passion. When working with a group of students, it is important to get them interested in working together creative work. This could be preparation for some evenings or holidays. And here, of course, you will meet the great scope of children’s imagination. They love to draw, write scripts, write works based on their drawings and use them in theatrical performances. Children just need to be able to ignite and captivate creativity!

Types of creative work:

selection of melodies and their subsequent complication with rhythmic patterns from different keys;
selection of accompaniment to songs and melodies;
composing melodic phrases for words,
composing melody based on rhythmic patterns;
completing phrases;
writing question-answer phrases;
writing a play based on a drawing;
transforming melody into different genres (march, polka, waltz, song);
composing a sketch with various transformations, and many others...

In parallel with the development of the child’s auditory control, it is imperative to develop the skills of reading all complex signs included in the concept “The concept of “music text” means not only notes, but also duration designations, dynamic, fingering instructions, etc.

It is imperative to accustom the student to careful study and accurate execution of all the numerous notations, which are the key to understanding the composer's intention. Cultivating the habit of accurately observing fingering notations, and subsequently a conscious attitude towards this issue, will contribute to the student’s technical growth. The fingering is selected by the teacher for the most convenient division of the passage, followed by an explanation of the appropriateness of the chosen one, for the fastest possible overcoming of difficulties. The fingering is selected in accordance with the artistic objectives of the work.

In the first year of study, the student acquires certain technical skills, which are developed through special exercises in etudes, various positional formations and five-key sequences, scales. The study of scales should be associated with their use in pedagogical literature, thereby combining technical and artistic tasks. “Technique must go hand in hand from the very beginning with genuine musical development,” writes Hoffmann. The student should pay attention to the sound evenness in playing scales. Correct study and mastery of scales, exercises, etc. in the first year of study is the key to good technical advancement of the student in the future. The development of an accordion player's technique should be linked to general musical development. The most important task of the pedagogical process is correct and productive exercise at the instrument. But an exercise cannot be understood as playing only scales, instructional etudes...

The technique includes mastering all the techniques needed to realize an artistic image. “Technique is touche, fingering, knowledge of phrasing,” writes M. Long. Therefore, work on purely technical tasks should go in parallel with work on sound, phrasing, etc. “Always connect the exercise with work on the performance; the difficulty is often not in the notes, but in the prescribed dynamic shade,” wrote F. Busoni. It is necessary to subordinate technical work to artistic tasks so that there is no gap between musical development and the accumulation of motor skills. The results of work on scales and arpeggios, for example, without which the development of a student’s technique is inconceivable, should be taken into account when performing artistic works. There are cases in practice when a student who plays scales well cannot apply them in the works he is studying with the required dynamics and phrasing. When choosing for a student etudes necessary for the development of certain types of technique, the teacher should give preference to those in which technical difficulties and musical tasks are in unity. The student, while mastering and accumulating motor skills, must simultaneously work on phrasing and nuance.

Used Books:

1. Akimov Yu. T. School of playing the button accordion
2. Lips F. R. The art of playing the button accordion
3. Sudarikov. Fluency school
4. Barenboim L. Musical pedagogy and performance
5. Govorushko M. On the basics of developing the performing skills of an accordion player
6. Ilyin E. N. The art of communication
7. Semenov I. Modern school accordion games

N. Davydov - Theoretical foundations of the accordion player's skill. The formation of the accordion performing and composing school 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

Send your good work in the knowledge base is simple. Use the form below

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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