Modern tendencies in the field of performing Russian folk instruments are associated with the intensive development of ensemble music-making, with the functioning of various types of ensembles at philharmonic societies and palaces of culture, in various educational institutions. This implies the need for targeted training of leaders of the relevant ensembles in departments and faculties folk instruments music schools and universities in the country.
However, the education of an ensemble player in educational practice, as a rule, is associated with known limitations. Teachers are usually assigned to lead homogeneous ensembles: accordion players - accordion ensembles, domrists or balalaika players - ensembles of plucked string folk instruments. Compositions of this type have become widespread in professional performance. It is enough to recall such famous ensembles as the trio of accordion players A. Kuznetsov, Y. Popkov, A. Danilov, the duet of accordion players A. Shalaev - N. Krylov, the Ural trio of accordion players, the Kyiv Philharmonic Quartet, the Skaz ensemble, etc.
Undoubtedly, working with homogeneous ensembles - duets, trios, bayan quartets, trios, domra quartets and quintets, balalaika unisons, etc. - is very important. However, the described restrictions in the activities of teachers of schools and universities prevent the full training of young specialists - after all, in fact, graduates music schools very often they are faced with the need to lead mixed ensembles. Most often, the latter consist of stringed instruments and a button accordion. Classes with such groups should become an organic part of the educational process.
Getting started, modern teacher faces inevitable difficulties: firstly, with an acute shortage methodological literature, dedicated to mixed ensembles of Russian folk instruments; secondly, with limited quantity repertoire collections, including interesting original works tested by concert practice, transcriptions, arrangements, and taking into account various levels of training and creative directions of the specified compositions. Most of the published methodological literature is addressed to academic chamber ensembles - with the participation of bowed instruments piano. The content of such publications requires significant adjustments taking into account the specifics of folk ensemble music-making (see, for example,).
This article describes the basic principles of working with a mixed quintet of Russian folk instruments. Wherein whole line practical advice and the recommendations expressed below also apply to other types of mixed ensembles.
The main problem solved in the process of working with these groups is the determination of the optimal timbre, volume-dynamic and line ratios of string instruments and button accordion (based on the discrepancy between sound sources, methods of sound production and different acoustic environments).
Voices instruments are among the most striking means of expression in the arsenal of a mixed ensemble. From the diverse timbre relationships that arise during the performance process, one can distinguish the autonomous characteristics of instruments (pure timbres) and the combinations that arise when sounding together (mixed timbres). Clean timbres are usually used when one of the instruments is assigned a melodic solo.
It must be emphasized that the sound of any instrument incorporates many “internal” timbres. For strings, one should take into account the timbre “palette” of each string, which changes depending on the tessitura (implying the sound characteristics of a certain section of the string), the discrepancy in timbre at different points of contact with the string (pick or finger), the specifics of the material from which the pick is made (nylon , leather, plastic, etc.), as well as the corresponding potential for a variety of performing techniques. The button accordion has tessitural heterogeneity of timbres, their relationships on the right and left keyboards, timbre variation using a certain level of pressure in the bellows chamber and in various ways valve opening, as well as volume changes.
To highlight the timbre of one of the string instruments - members of the ensemble - it is recommended to use register combinations, which are available in a modern ready-selected multi-timbre button accordion. The timbre fusion of the button accordion with the accompanying instruments is ensured by one-voice and two-voice registers. “Emphasizing” the accordion timbre, depending on the characteristics of the texture, is facilitated by any polyphonic combinations of registers, which, in an ensemble with strings, provide the necessary timbre relief.
Municipal budgetary institution
Additional education
"Children's Art School named after A.M. Kuzmin"
Report on the topic:
« Working with a mixed ensemble of Russian folk instruments»
Performed:
teacher
Kolomiets I.V.
Megion
Modern trends in the field of performing Russian folk instruments are associated with the intensive development of ensemble music-making, with the functioning of various types of ensembles at philharmonic societies and palaces of culture, in various educational institutions. This implies the need for targeted training of leaders of the relevant ensembles in the departments and faculties of folk instruments of music schools and universities in the country.
However, the education of an ensemble player in educational practice, as a rule, is associated with certain limitations. Teachers are usually assigned to lead homogeneous ensembles: accordion players - accordion ensembles, domrists or balalaika players - ensembles of plucked string folk instruments. Compositions of this type have become widespread in professional performance. It is enough to recall such famous ensembles as the trio of accordion players A. Kuznetsov, Y. Popkov, A. Danilov, the duet of accordion players A. Shalaev - N. Krylov, the Ural trio of accordion players, the Kyiv Philharmonic Quartet, the Skaz ensemble, etc.
Undoubtedly, working with homogeneous ensembles - duets, trios, bayan quartets, trios, domra quartets and quintets, balalaika unisons, etc. - is very important. However, the described restrictions in the activities of teachers at schools and universities impede the full training of young specialists, because in fact, graduates of music schools very often face the need to lead mixed ensembles. Most often, the latter consist of stringed instruments and a button accordion. Classes with such groups should become an organic part of the educational process.
When starting work, a modern teacher faces inevitable difficulties: Firstly, with an acute shortage of methodological literature devoted to mixed ensembles of Russian folk instruments; secondly, with a limited number of repertoire collections, including interesting original works tested by concert practice, transcriptions, transcriptions and taking into account the various levels of training and creative directions of these compositions. Most of the published methodological literature is addressed to chamber ensembles of an academic profile - with the participation of bowed piano instruments. The content of such publications requires significant adjustments taking into account the specifics of folk ensemble music-making (see, for example,).
General orchestra rehearsals are one of the main forms of educational and creative work team. Important for successful work the collective has placement of performers. Chairs and music consoles are placed in such a way that the conductor can clearly see each of the orchestra members and is visible to them.
The rehearsal begins with a careful tuning of the instruments, always carried out for the same instrument (accordion or oboe). Rehearsals last two to three hours, with a break after every 45-50 minutes of work.
The pace of the rehearsal is important. It is recommended to avoid unnecessary stops, which dampen and tire the orchestra and lead to a loss of creative interest in the work. Stopping during rehearsal should always be justified. Having stopped the orchestra and waited for silence, the conductor addresses the performers, avoiding verbose explanations, speaking in accessible language and quite energetically.
Analysis of difficult plays and development of technically complex fragments are usually carried out in the first half of rehearsals. It is better to end the lesson by repeating the finished material, pieces especially loved by the orchestra. The preparation of a work, from the first acquaintance to its performance in public, is complex and unified. creative process, all stages of which are closely interconnected.
The conductor begins his work long before rehearsals begin. First, he studies the score of the work in detail and deeply, and the range of issues being studied is very wide. This is the study creative biography composer, and the time when he created, and the history of creation of this work, performance traditions.
It is extremely important, even at the initial acquaintance with the work, to grasp it as a whole: reading the score at the piano or mentally intoning it. This creates general idea about the basic musical images, structure and dramaturgy of the development of the material. Next, a holistic theoretical analysis of the most essential elements is needed musical language, harmony, melody, tempo, meter rhythm, dynamics, phrasing. Based on a comprehensive study and careful theoretical understanding of the score, the conductor gradually develops an idea of the performance plan.
Having studied all the details of the score, the conductor again moves on to cover the work as a whole, but at a new, higher level, combining all the details into a single harmonious presentation. Only after a clear artistic concept has been drawn up, when a definite performance plan has been formed, can one proceed to rehearsals with the orchestra.
Before starting a rehearsal, the conductor needs to check the presence of all parts, check them with the score, and clarify the correct placement of digital reference points and dynamics. It is necessary to think over the strokes for each orchestral part and clarify them in all voices without exception, identify all technical difficulties and outline ways to overcome them, taking into account the performing level of the musicians. Sometimes in games there is a complex presentation of individual passages, jumps that are inconvenient for the performers, too high a tessitura, etc. In this case, editorial editing is necessary. Of course, such editing must be done very carefully, without in any way violating the author's intent.
Experience shows that fruitful work at a rehearsal is impossible without a clearly thought-out plan. The result of the conductor’s self-preparation should be: an established interpretation of the work, corrected parts, a clear rehearsal plan. IN general outline The plan for rehearsal work on a piece comes down to the following stages: playing the piece in its entirety (if the technical level of the orchestra allows), working on details, final finishing of the piece. The sequence of these stages, as in the previous rehearsal work conductor over the score, follows from the principle - from the general to the specific, with a subsequent return to the general.
When playing a piece, the conductor has the opportunity to draw the performers’ attention to difficult orchestral episodes and, in general terms, introduce the orchestra to the performance concept. While playing, it is useful to name the numbers, which helps orchestrators navigate their parts. If the work is calm in movement, then it can be read at the pace set by the author. Technically complex pieces should be introduced at a slower pace so that orchestra members can better understand the individual details of the piece. It is necessary from the very beginning to point out any manifestations of false intonation or distortion of the musical text. A conductor who knows the score well will not miss a single error that may appear in the notes or accidentally occur due to the fault of the orchestrator. It is not so difficult to hear falsehood; it is more difficult to determine which instrument has it. The more clearly the conductor imagines all the voices of the score, the sooner he will determine this, and therefore, the less time he will lose on correcting errors.
If there are orchestral difficulties in a piece, it is useful to begin the rehearsal there, asking separate groups to perform the difficult part, and then give the necessary instructions. If a fragment does not work out, it should be marked for individual elaboration. At a general rehearsal, it is necessary for the entire team to be busy, and not to work long time with only one group. The conductor must have a clear idea of what can be achieved at this stage of work and what will only be accomplished after some time.
From the very first rehearsals, the conductor’s attention should be consistently directed from the perception of the technical side of the performance to the artistic. All technical difficulties can be overcome faster if the performer understands why artistic purpose he needs to overcome them. Rehearsal work should convince him that solving technical problems is not an end in itself, but a means for a bright and expressive embodiment of the content of the work.
Careful work during rehearsal should concern all means of expression. Dynamic shades- one of the expressive means that helps reveal the musical image of a work. Based on a thorough analysis of the work, taking into account the requirements of the style, the conductor finds the right nuance arising from the content of the music. At the same time, it is important to determine the main culmination, towards which all previous development tends, and the secondary culminations, emphasizing moments of dynamic tension in individual parts and episodes.
For an orchestra, for example, it is a known difficulty to perform long rises and falls in sonority. The orchestra willingly performs crescendo, which usually reaches its peak too early, and in diminuendo it turns to pianissimo too early. You can avoid this, for example with crescendo, by following the well-known technique: start the build-up with a quieter sound, then a gradual increase in it is achieved. It must be remembered that the nature and degree of strength of each nuance follow from the characteristics of the style of the work. It is desirable that any changes in nuance be reflected in the conductor’s gesture. The amplitude and intensity of the gesture must be verified, clear and understandable to the orchestra members at the very first rehearsals.
The conductor is obliged to think through in advance the entire phrasing of the work in detail in order to decipher the structure of the musical phrase to the performers during the rehearsal. Even experienced musicians feel music differently, and the conductor’s task is to unite different individualities and subordinate them to a single concept.
When rehearsing phrasing, you can use various methods of mastering it. Just a gesture is not enough. It is very useful to parse the phrase orally, identifying its reference points. Quite often you have to solfege. To do this, it is not necessary to have a delivered and beautiful voice, but you need to sing clearly, purely, expressively. Orchestra players will ensure a flexible orchestral sound only if everyone has a common understanding of the phrase.
Achieving a good ensemble performance is one of the most complex tasks in working with an orchestra. It is well known that joint execution requires, first of all, the same understanding artistic design works - both in terms of content and stylistic features, and in everything related to tempo, dynamics, strokes.
Based on the texture of the piece, the conductor must help the orchestra members clearly imagine the role and significance of their part in each episode. Often, novice orchestra players strive to perform their part as clearly as possible, pushing it out too much, not caring about how this affects the overall sound. On the other hand, there are often cases of timid performance due to false fear. To overcome these shortcomings, it is necessary for the orchestral players to have a clear understanding of the role of their part in the entire orchestral texture of the score. A fairly common mistake is overloading the sonority of the “secondary” plan, associated with a loss of balance between the leading and accompanying voices. However, one cannot come to terms with the primitive understanding of sound perspective, which boils down to the fact that the first plane should be played loudly, and the second one should be played quietly. The sound of both planes is always interconnected, and an excessive gap in the strength of sonority is undesirable. The sound balance must be controlled not only by the conductor, but also by the performers themselves.
In achieving an ensemble performance, the correctness and precision of the strokes is extremely important. The conductor sometimes has freedom in choosing strokes: not all strokes are indicated in the scores. And playing with different touches, especially on string instruments, distorts the nature of musical writing. Because the leader folk orchestra should be proficient in the basic instruments, it would be useful for him, either alone or together with the group’s accompanists, to try several variations of strokes, find the most correct one and offer it to the orchestra. In the initial period, it is useful for the conductor to work in parts, achieving the same stroke. The lines marked in the parts can usually be performed by the most ordinary orchestra performer, and the conductor’s task is to persistently achieve line expressiveness.
In practice, the conductor must constantly contend with a very common performance flaw: changes in dynamics encourage inexperienced performers to deviate from the tempo. As the sound rises, as a rule, the tempo speeds up, and when it falls, it slows down. The same unlawful violations of tempo can be observed when alternating phrases that differ sharply in the nature of the music and texture. The conductor must constantly cultivate proper rhythmic discipline in the orchestra. In rehearsal work, significant attention should be paid to sound quality, since often inexperienced orchestral players do not know how to control themselves. The conductor must carefully monitor good sound production, which depends on the correct angle of the pick in relation to the string. (For example, in a domra group, an unpleasant “open” sound may appear.) Quite often, poor-quality sound also occurs due to weak pressing of the string to the fret. Some orchestra players play with a bad tremolo and have difficulty moving from string to string in the cantilena, and the conductor’s task is to teach the orchestra players to distinguish good sound from bad.
When working on a performance ensemble, you must remember that if the instrument leading the melody is hard to hear, you should not force it to play forcefully. This will also lead to poor quality sound. It is better to highlight the desired instrumental timbre by muting the instruments that cover the solo voice.
Sometimes it happens that orchestra members do not immediately understand the conductor’s instructions or cannot fulfill his requirements due to technical complexity. Then the conductor, having recalled the performance task, must repeat the musical phrase as many times as necessary. Otherwise, the orchestra members will feel that the conductor is not responding to the fact that the quality of performance remains the same. However, if the difficulty cannot be overcome and independent study of the part is necessary, the conductor, having given the appropriate instructions, continues to work on the next section of the piece. There is no need to stop execution due to small random errors by individual performers. You can use a gesture or word to attract the attention of the performer and correct the mistake without stopping the entire orchestra playing,
In rehearsal practice, there are times when even if there are shortcomings in the performance, it is not recommended to resort to stops. Such situations arise, for example, if the performers are already tired. The conductor must feel the state of the orchestra and, in such cases, play more music: give the members of the ensemble the opportunity to enjoy the music, or, conversely, sometimes it is worth stopping the playing and entertaining the orchestra with a joke, interesting story about music, composer, etc.
The rehearsal “should be structured in such a way that all groups of the orchestra participate in the work without long breaks, so that each performer is ready to join at any moment. If the director lingers too long working with individual parts, this will discourage the other participants.
After analyzing the play and carefully working on the details, the final stage comes. It consists of polishing and combining individual details into a single whole, bringing the composition to its final tempo, and developing the necessary ease and freedom in performance. The success of rehearsals largely depends on the conductor’s ability to communicate with the ensemble. Working with an orchestra requires integrity, perseverance, exactingness and patience. The conductor's behavior during rehearsals should be an example for the performers - one should be smart, organized, and collected. He should not show his annoyance, get nervous when something doesn’t work out for a long time in the orchestra, and, moreover, offend the pride of the participants. The team leader must always be correct, demanding during rehearsals and simple, humane in communication outside of class time. Here it is appropriate to quote the words of the famous conductor Bruno Walter, who spoke about this important aspect of the conductor’s appearance: “. The conductor himself does not create music, he does it with the help of others, whom he must be able to direct through gestures, words, and the influence of his personality. The result depends solely on his ability to lead people. Here innate talent plays a decisive role - we are talking about the ability to assert one's will, the influence of one's individuality - and this trait should be developed through constant work, using everyday experience. A person who does not have authority, who is deprived of dynamic willpower, cannot occupy a strong position, even if he has musical talent, abilities and knowledge. He will be able to express himself and his feelings with great skill on the piano, on the violin, but he will never turn the orchestra into an instrument that obeys him.”
Methodological development“Features of the work of a teacher-musician with a mixed ensemble of different ages
(plucked and reed folk instruments, vocals, bowed instruments) in the institution additional education»
This development may be interesting and useful for teachers of additional education, directors of ensembles when organizing artistic groups
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State budgetary non-standard educational institution
"St. Petersburg City Palace of Youth Creativity"
City Center for the Development of Additional Education
Refresher courses
Methodological development
“Features of the work of a teacher-musician with
Mixed ensemble of different ages
(plucked and reed folk instruments,
vocals, bowed instruments)
in an additional education institution"
Ekimova Elena Vladimirovna,
Vladimirova Valentina Alekseevna
additional education teachers
State budgetary
institutions of further education
Castle Children's Creativity
Petrogradsky district
St. Petersburg
Saint Petersburg
2015-2016
Explanatory note | ||
Repertoire selection | ||
Creating a score | ||
Examples of composing a score for a mixed ensemble of different ages | ||
Conclusion | ||
Bibliography |
Explanatory note
Centuries-old development of the world musical culture confirms that performance, be it instrumental or vocal, is unthinkable without ensemble music-making.
An effective and popular form of introducing children to musical art is ensemble music-making, which gives each student the opportunity to demonstrate their abilities in collective musical co-creation in accordance with their abilities and level of training. Studying ensemble literature and mastering the skills of playing together are an integral part of the system of educating young musicians. Ensemble music-making has acquired particular demand and relevance in the modern period. Evidence of this a large number of competitions, festivals specifically dedicated to ensemble performance, music publications, including great amount a wide variety of arrangements popular works classical and modern repertoire for different ensemble compositions.
This development may be interesting and useful for additional education teachers and ensemble leaders when organizing artistic groups.
This methodological development presents the experience of organizing the activities of the mixed-age mixed ensemble “April” of the Palace of Children's Creativity of the Petrograd District. The team emerged from the idea of additional education teachers -connect different groups instruments that have different timbre sounds between instruments of folk and symphony orchestras.
Our team is non-standard in its composition, it includes students of different ages studying in the following additional general education programs:
- "Ensemble of Folk Instruments";
- "Ensemble of button accordion and accordion players";
- “Learning to play the violin”;
- "Vocal Ensemble"
Purpose mixed age mixed organization musical group is the development of social and creative activity of students through their inclusion in a joint musical process.
Tasks:
- educational:
Development of communication skills in a team of different ages;
Fostering a sense of partnership;
Cultivating tolerance for performers of other types of musical instruments, genres and styles of music;
Fostering a culture of musical performance;
Nurturing a culture of stage behavior;
Cultivating emotional perception and performance of musical works;
- developing:
Development of students' analytical abilities (the ability to listen and analyze their own performance, as well as the performance of other groups);
Development in students musical ear, memory and sense of rhythm;
Development of a creative approach to the performance of musical works;
Development of hand and body coordination.
- educational:
Introduction to stringed, bowed, folk and reed musical instruments;
Formation of ensemble performance skills in students;
Formation of sight reading skills;
Formation of stage performance skills;
Studying musical literacy And elementary theory music.
To creative teams educational programs Anyone from 6 to 18 years old is welcome. At the first lessons, auditions are held, where the children's musical abilities are revealed, and, depending on their abilities, they are assigned to groups of instruments.
Conditions for organizing a mixed ensemble and features of rehearsal work
The main condition for organizing such a creative team is the community of additional education teachers aimed at finding new ideas.
An important step for successful activities is planning the work. Teachers think over a work plan for each children's association and look for common points of contact. Annual concert and competition plans are drawn up.
Points of contact:
- general repertoire
- general rehearsals
- joint performances.
Work on works begins within each association with learning musical material in individual lessons or in small group rehearsals.
An important role at this stage is played by the accompanist, who helps to get a complete understanding of the musical work. Students immediately learn to listen to their part in the whole sound of the piece, as well as to hear the parts of other voices. In addition to studying the musical material and strokes, work begins on the image and character of the music. Parties are mostly practiced at a slow pace to master technical difficulties.
In classes without an accompanist, first of all, those places in the part that pose the greatest difficulty are identified - technical, melodic, rhythmic, and work is done separately on difficult places, achieving clear and correct execution of strokes, fingerings, and dynamics.
After the children are fluent in musical notation, rehearsals begin in each group of instruments. Here the difficulty arises in simultaneous performance of one voice, or several, if there is a division within one type of instrument. At this stage, work is underway on general strokes, dynamics, the search for expressive means, as well as work on the figurative and emotional content of the works.
And the next stage of work in preparation for the performance is consolidated rehearsals, where all groups of instruments of the ensemble are combined. A differentiated approach is used, the variability of combining different musical instruments:
- domra – balalaika – reed folk instruments
- violin - vocals
- violin – vocals – folk reed and plucked instruments, etc.
When working with children, an individual approach is used to each child, each plays his or her role in the ensemble depending on the achieved level of performing skills. At rehearsals Special attention devoted to working on the artistic image and form of works. Students are faced with the difficult task of harmoniously introducing their part into the overall sound of a multi-timbre ensemble, hearing the melody that passes through different voices.
Repertoire selection
Depending on the requirements for the concert and competition program, teachers select a suitable repertoire for their general education program. A unified concert repertoire is selected jointly by all teachers based on the performing capabilities of the students.
A solid, high-quality repertoire is the basis creative activity of any artistic group, it stimulates the growth of performing and artistic skills of the ensemble members and at the same time contributes to the development artistic tastes performers as well as the audience. You should carefully select works that have artistic value, combining interesting content with perfection of form, with original and varied expressive means, capable of truly captivating listeners and revealing the artistic talents of the performers.
Creating a score
Well-made instrumentation is one of the decisive factors for a successful ensemble performance. To competently compile the score, we studied the features of each group of instruments: their operating range, dynamic capabilities, timbre sound features, and line capabilities. Depending on the character, texture, tempo, and dynamics of the work, we divide functions and present the material according to the specific quality of the instruments and the manner of playing each of them.
Characteristics of musical instruments
Our ensemble includes the following groups of musical instruments: domra, balalaika, accordion, button accordion, violin and vocals.
Each group, as well as individual instruments, have a rich palette of bright, individual colors, which are used in the performance of melodies, echoes, passages, and in various combinations with other instruments. Let's dwell on brief characteristics the main musical instruments of our group.
The standard operating range of a violin is from ""small octave to"» fourth octave .
Violin timbre - thick in low register, soft and tender– medium and light, shiny– in the top. Due to the closeness of the sound to the human voice and the ability to produce a strong emotional impact on listeners, the violin is the most suitable instrument for playing melodic line. She can also perform an accompanying function in an ensemble. Since the timbre of the violin is very bright, a pizzicato touch is usually used to accompany the solo part of a group of domras and balalaikas, or the accompanying part is performed in quieter dynamics than that of the solo group. The similarity of the timbre of the instrument with the timbre of the voice creates the possibility of a harmonious sound with the vocal part. Taking this feature into account, the violin can play supporting voices or one of the voices in a polyphonic vocal work.
Children's singing voices by the age of 10-12, they begin to be divided into treble (has a range from the note “C” of the first to “A” of the second octave, mobile, sonorous) and alto (a lower and less mobile voice than the treble, range from the note G minor to G the second octaves).
Domra is small. The range of the small domra is from “E” of the first octave to “A” of the third octave. Build - mi, la, re. The instrument is non-transposing. Low register – soft, juicy. The main technique of playing is “tremolo”. The “staccato” stroke is performed with a downward “P” or an upward “V” stroke. Pizzicato is a technique of playing with a pinch (ring finger or thumb). Small domra has an even and bright sonority throughout the entire range. In the low and middle registers on the small domra, melodies of a melodious nature sound expressively. The range of the prima balalaika is from “E” of the first octave to “D” of the third octave. In the low register the instrument sounds more muffled than in the middle register. The balalaika has great capabilities to perform melodies of a melodious nature with double and triple notes, using the following techniques: rattling, pizzicato, vibrato.
In our ensemble, the domra and balalaika part performs both a melodic function (basic techniques: down and up strokes, pizzicato, harmonics) and an accompaniment function. Considering that the domra and balalaika are inferior in sonority to other groups of instruments in our ensemble, when playing a solo part they need to be dynamically highlighted.
The balalaika alto, like the domra alto, is transposed down an octave. The range of the balalaika is from the note “E” of the small octave to “C” of the second octave, and the domra from the note “E” of the small octave to “A” of the second octave. The alto balalaika performs mainly as an accompaniment. The low and middle register of the alto balalaika are the most commonly used. The alto domra has a soft, chesty sound in timbre. In our works, we give the alto balalaika parts of a subvocal nature, the performance of various kinds of harmonic figurations on one note.
The accordion and button accordion compensate for the absence of wind folk instruments in the symphony orchestra. We use the right keyboard of the instrument, which has a range from “G” of the major octave to “E” of the fourth octave. We also often use these instruments as accompaniment and perform the function of a piano.
Conclusion
This methodological development presents the experience of organizing the activities of the mixed-age mixed ensemble “April” of the Palace of Children's Creativity of the Petrograd District.
The vocal and instrumental ensemble “April” has existed in the Palace of Children's Creativity recently (less than 5 years), but the results of the work done by teachers and students have already appeared: diplomas and prizes in competitions (see Appendix 3). Our experience also interested other directors of artistic groups, who expressed their readiness to collaborate with our ensemble. The result was joint performances at concerts, competitions and festivals with various ensembles and choirs.
During the learning process, according to additional general education programs, children mastered musical performance skills in practice, sight-reading music, learned to play in a group, and hear each other in an ensemble.
The method of teaching games in a mixed group includes an individual approach to each child, taking into account his abilities, character, physical health and is presented in a playful version. We invite children to express their point of view, to find artistic image and, as a result, develop out-of-the-box thinking, imagination, creativity, memory, attention, increase vocabulary with musical terms, develop musical and performing skills. The members of the group are taught responsibility for performing pieces in front of other musicians, their ear for music is developed, and they become closely acquainted with musical instruments. When working with an ensemble, the teacher must also take into account the educational process: teach children to respect each other, instill a sense of collectivism, camaraderie, mutual assistance, and thereby contribute to the development of the personality of each child.
In addition to the development of vocal and technical skills, the ensemble’s work on such works as V. Kosma’s “Toy” and R. Rogers’ “Song of beautiful things“contributes to instilling in children a love of music, which, in our opinion, is very important in the education of students. Team work on musical works, the composition of which includes various musical instruments, leads to colossal “growth” of the team.
Bibliography
- Kargin, A. S. Work with an amateur orchestra of Russian folk instruments // Third edition, Ed. T. Ershova, M.: “Music”, 1987. – 41 p.
- Chulaki, M. I. Symphony Orchestra Instruments // Third edition, Ed. K. Kondakhchan, M.: “Music”, 1972
- Lebedev, S. N. Russian book about FINALE // St. Petersburg: “Composer”, 2003.
- Raeva, O. A. Issues of forming the repertoire for ensembles of Russian folk instruments. Methodological development, Republic of Crimea, 2014.