Many parents are literally obsessed with teaching their children music. However, not everyone does it easily and organically. Often, difficulties begin already at the moment of choosing a musical instrument.

The violin is presented to the parents the best option. Lightweight, affordable (not Stradivari, in fact), does not take up much space - a miracle. That's just the violin is taken only by those who have. That is, not all of them.

In second place in popularity, of course, is the pianoforte. You still need to be able to get a job at the piano, and the instrument itself is not tough for everyone from a material and spatial point of view: it is painfully large and expensive. Those children who were not taken to either the violin or the pianoforte are often arranged by their parents in groups of wind instruments. And they absolutely do not think that playing the wind instruments is far from being shown to everyone for purely medical reasons.

Wind musical instruments are divided into wooden ones, for example, flute, oboe, clarinet, bassoon, and copper ones - trumpet, horn, trombone, tuba. It takes some effort to make a sound, and some instruments are quite heavy, which is why only healthy children can learn to play them.

At what age can children learn to play wind musical instruments? Much depends on the choice of instrument. So, a child can be taught on the flute from the age of 9, on the oboe - from 10 years old, on the clarinet from 10-11. Moreover, for the initial period of training, you should purchase a clarinet in the E-flat (or es) system - the smallest in size. From 11-12 years old they begin to learn to play the trumpet, from 12-13 years old - the horn, from 14 - the bassoon, trombone and tuba. Of course, each child should have an individual approach, taking into account his physical development, endurance, and state of health.

The lungs experience the greatest stress while playing wind instruments. After all, a deep breath before blowing air into the instrument causes a strong stretching of the lung tissue (elastic fibers of the lung vesicles of the alveoli). After suffering rickets of 2 and 3 degrees, after repeated diseases with pneumonia, the elasticity of the lung tissue usually decreases. In such cases, playing wind instruments can cause irreversible changes in the lung tissue - rupture of the walls of the alveoli, emphysema.

When extracting a musical sound, the abdominal press is strongly strained, intra-abdominal pressure rises. Therefore, children and adolescents in whom doctors detect hernias (white line of the abdomen, inguinal, inguinal-scrotal), divergence of the muscles of the anterior abdominal wall, are not allowed to play wind instruments. It is strictly forbidden for any chronic diseases of the respiratory system, cardiovascular system, digestive tract.

Plan.

Introduction.

1. Performing technique and work on training material on wind instruments.

1.1. Development of performing breath:

a) types of breathing;

b) development of breathing;

c) the role of inhalation and exhalation;

d) the role of breathing in musical phraseology;

1.2. Achieving purity of intonation.

1.3. Tool setting.

1.4. Vibrato on wind instruments.

1.5. Features of the execution of strokes and methods of working on them.

1.6. Development of finger technique.

1.7. Developing a sense of tempo stability.

1.8. Development of a good musical memory.

Conclusion.

Used Books.

Introduction

The most important component learning to play a musical instrument is the availability of modern information and methodological support. Methodology as a set of methods and techniques for performing some kind of work in relation to music pedagogy is a doctrine about the methods of teaching a particular subject. This applied branch, knowledge is formed on the basis of analysis and generalization of the experience of the best domestic and foreign teachers, musicians and performers, the emphasis is on the study of patterns and methods of individual learning. Possession of the technique is important not only for teachers, along with other musical and theoretical disciplines, the technique contributes to the education of a general musical culture, broadens the horizons of performers. Consequently, the teacher-musician faces the task of equipping the student with methodological skills that will help him become a competent specialist.

One of the fundamental pedagogical tasks in the field of musical art is the development of musicality, which includes a complex of such concepts as musical ear, musical rhythm and musical memory.

The national school of wind performance is aimed at comprehensive development student, combining high technical skill, musicality and disclosure of the artistic image.

No less important is the formation of a stable skill of reading music from a sheet and the experience of ensemble performance.

The skill of a teacher is acquired as a result of a careful study of the experience available in this area, and its critical evaluation. The methodology must be constantly adapted and varied, taking into account the individual characteristics of both the teacher himself and his student. If the teacher has mastered the technology and technique of teaching, is able to captivate the student, evoke vivid images in his mind, creatively select a pedagogical technique suitable for a particular case, success in educational work will be noticeable.

The development of performing skills includes not only virtuoso playing, but also expressive transmission of images, feelings, thoughts and moods. From the very beginning, the student must develop the ability to penetrate into the essence of the musical image and the composer's intention, the ability to understand the musical material, using various means of expression and the right measure of movement and dynamics in performance.

In educating an emotionally active attitude to the work being performed, the teacher starts from the musical material, the degree of giftedness of the student and special teaching aids, which include oral story, explanation, comparison, demonstration of musical material on the instrument, etc. main goal classes should be rich in content, depth and emotionality of performance. Every nuance must be understood and felt.

The development of the musical culture of the performer is impossible without the formation of musical thinking, initiated by the musical work itself. The soul opens up, accepting the spiritual experience that belongs to other people, humanity, active form interaction with art and communication through art.

The performance of any music can be mechanically indifferent, or it can be deeply penetrating. Understanding a piece of music is a thoughtful search for meaning, the meaning of sounding intonations. Comprehending the meaning of a piece of music, the student turns to the baggage of his own memories, associations, etc.

The productivity of the performer's musical thinking is manifested in the cognition of the artistic meaning, content, expressed in acoustic material forms.

The student's musical and artistic thinking develops consistently with the introduction of ever more complex musical material into the learning process.

Improving the performance skills of wind musicians can be carried out in several directions. One of these areas - the technical equipment of the performer includes the following components:

a) lip technique;

b) breathing technique;

c) language technique;

d) finger technique.

Lip technique refers to the strength and flexibility of the lip muscles, that is, their endurance and mobility.

The breathing technique presupposes the development of the respiratory apparatus of a wind player, the ability to play on a support, quickly, in a timely manner and in sufficient volume to inhale and make a varied exhalation corresponding to the nature of the music.

The technique of the tongue is characterized by its mobility and clarity when performing any attack, flexibility in the formation of an exhaled air stream.

Under the technique of the fingers is meant their well-developed ability for fast, clear, both separate and coordinated actions, as well as the ability of the musician to use a variety of fingering options, depending on the complexity of the texture of the musical work and the requirements of intonation.

Work on the development of performing technique is the process of freeing the performer from everything superfluous - from unnecessary movements, stiffness, tension, etc. Sometimes the reasons for technical failures are improperly developed performing skills, unnecessary movements, and sometimes tightness and stiffness of the performing apparatus. The teacher must help the student to recognize these causes and consistently overcome them.

Technical performance problems are somewhat different for performers on various wind instruments. For woodwind players, finger technique is of paramount importance, while for brass players, the mouthpiece often plays a decisive role.

Genuine technical mastery can be achieved only when the musician is able to coordinate all the elements of technique into a single performing process. To achieve a comprehensive development of performing technique is possible only with the ability to isolate each of its components and work on its development.

Many years of pedagogical and performing practice of performing on wind instruments has formed a system of daily lessons for a wind player, built on material designed for comprehensive development his performing apparatus and technique (training material, including the game of sounds of long duration, scales and arpeggios, exercises and etudes)

1. Fundamentals and principles of the formation of performing skills on wind instruments.

1.1. Development of performing breath

Great importance in the process of learning to play wind instruments should be given to the development of breathing techniques, which require systematic training. The purity of intonation, stability and expressiveness of sound depend on proper breathing. When playing wind instruments, the functions of inhalation and exhalation change radically. If during normal breathing, inhalation and exhalation are approximately the same in time, then when playing a wind instrument, exhalation is often much longer than inhalation. In addition, the performance breath is always active.

The art of performing breathing consists not only in the ability to change the strength and direction of the exhaled air stream, but also in the ability to produce a quick full breath, significantly exceeding the volume of a breath during a normal respiratory process.

To extract sounds of a certain height, dynamics, character, timbre, duration, that is, to activate a sound generator and a sounding air column, a performer on a wind instrument needs an intense exhalation. The degree of exhalation intensity is determined by the nature of the music and the specifics of sound formation on a particular wind instrument.

Wind instrument performers have adopted not thoracic or diaphragmatic types of breathing, but chest-abdominal, mixed type of breathing as the most rational and creating the most favorable conditions for inhalation and exhalation during the game.

With the chest type of breathing, the emphasis of inspiration falls on the middle section of the chest, the lower parts of the chest participate weakly in the process of inhalation, the diaphragm almost does not participate. With abdominal or diaphragmatic breathing, the emphasis falls on the work of the strongest and most active muscle - the diaphragm. However, the volume of the lungs during such breathing is incomplete, since the middle and upper parts of the chest are weakly involved in the process of inhalation.

With the thoracic (mixed) type of breathing, due to the combined action of the diaphragm and all the muscles of the chest, the greatest effect of inspiration is achieved. Nevertheless, when playing a wind instrument, one cannot deny the importance and necessity of using different types of breathing in the performing practice of wind players - chest and diaphragmatic (abdominal): the types of breathing are determined by the nature of the music itself.

The conditions of the game oblige the wind player to often take a full and quick breath. To ensure this condition, musicians resort to participation during inhalation not only of the nose, as with a normal inhalation, but also of the mouth. The degree of participation of the mouth at the moment of inhalation is determined by the specifics of sound production on a particular wind instrument. So, for example, on a pipe - an instrument with a narrow scale, which requires not so much a large amount of air supply as the intensity and concentration of the exhaled air jet - the main load during inhalation falls on the nose. The mouth performs here only auxiliary functions, and then in exceptional cases when a quick full breath is required. On wide-scale instruments (trombone, tuba), where the fullness of inhalation is always more voluminous than in instruments with a narrow scale and exhalation is not so concentrated, the activity of the participation of the mouth in the process of inhalation is higher.

When playing woodwind instruments, most of the inhaled air passes through the mouth, and only a small part through the nose.

The degree of active participation in the process of inhaling through the mouth or nose also depends on the musical phrase and, in this regard, on the types of breathing used. If with a diaphragmatic breath the main part of the air is inhaled through the mouth, with a chest-abdominal breath - through the mouth and nose, then with a chest breath the active role belongs to the nose.

The decisive role in the performance belongs to the exhalation, since it is directly connected with the artistic side of the performing process. Exhalation should be varied and flexible: sometimes stormy and impetuous, sometimes barely noticeable and smooth, sometimes intensifying and fading, sometimes accelerating and slowing down, etc.

When performed on a wind instrument, the exhalation should have the necessary quality: either uniform, then gradually accelerated, then gradually slowed down, depending on the dynamic nuances. The amplification of the sound is associated with the acceleration of expiration, the weakening - with a gradual slowdown; with a gradual and uniform exhalation, a sound of even strength is obtained. In this way, a wide variety of nuances of sound are achieved.

Breathing should be developed gradually: from individual, not too long sounds and small musical phrases with a dynamically uniform sound and minimization of intonation errors, one should move on to further development performance breathing on material with longer sounds and phrases, with a gradual increase and decrease in exhalation. At the same time, it is necessary to constantly monitor the quality of the performing exhalation by ear. To develop the skills of performing breathing in pedagogical practice, the performance of scales in slow motion with the use of various nuances is widely used. The completion of the development of the breathing technique is achieved in the work on specially selected musical material, in which the performance of the existing dynamic shades requires a certain skill.

Special attention should be paid to the development of the muscles of the lips and face, which must be taken into account when selecting exercises designed to develop breathing. For some performers, when exhaling, part of the air comes out through the nose, which leads to the loss of timbre colors of the sound, so the teacher must notice and correct this shortcoming in a timely manner.

Not only the dynamic side of the performance and the quality of the sound depend on breathing. With the help of breathing, musical phrases are separated from one another, therefore, it is necessary to draw the student's attention to the role of breathing in musical phraseology. The correct distribution of breathing change points is of great importance for the expressiveness of the performance: the teacher must, based on an analysis of the structure of the work and accounting

performance capabilities of the student to accurately indicate the moments where you should take a breath. The student should also participate in this analysis, gradually learning to understand the text independently. Breathing moments cannot be placed in random places, the listener should never feel that the performer needs to take a breath. There are very long musical phrases that cannot be performed in one breath. In this case, you should find a place where you can take a breath without violating the meaning of the musical phrase. Incorrect distribution of inhalation points can lead to a distortion of the meaning of a musical phrase. At the same time, the league should not serve as an obstacle to breathing, since it only indicates the need for a smooth and coherent execution.

The cessation of sound does not occur immediately; for a short time, the human ear retains sound. This makes it possible, with a certain skill, to inhale at certain points under the league. Performance with strained breathing produces a heavy, unpleasant impression.

The student's style of inhaling predominantly on a bar line should be combated. The student must learn that the bar line is only a metrical boundary and does not always coincide with the beginning or end of a musical phrase.

Develop a comprehensive breathing technique and learn to use it fully as a means of musical expressiveness is possible only when mastering a sufficiently rich musical repertoire.

An indispensable condition for accurate intonation is that the performer has a well-developed ear for music. The inaccuracy of the tuning of wind instruments, which necessitates constant "corrections" of the pitch of individual sounds by a corresponding change in the tension of the lips, requires increased auditory sensitivity to intonation. With the help of special exercises, a wind player can improve his relative pitch so much that he acquires the qualities of absolute pitch. In particular, the teacher must constantly pay attention to the development of all components of musical ear and, above all, internal, melodic ear. Most often, this is done using the performance from memory of previously known or heard musical passages, the transposition of familiar melodies into other keys, improvisation, and also composing music. The teacher specifically directs attention to the expansion of students' artistic impressions by demonstrating musical works both performed by the teacher himself or by students, and by playing music using technical means. Moreover, it is useful to combine the demonstration of music with its observation by notes.

1.2. Achieving purity of intonation.

Achieving purity of intonation when playing wind instruments is one of the most difficult tasks in performing practice. Therefore, the most important aspect of musical education is constant attention to the purity of intonation during performance, to the tonality of the listened musical works, and modal functions. Only constant observation of the accuracy of intonation, drawing the student's attention to each false sound can create in him a critical attitude to the slightest intonation inaccuracy. This, in turn, enhances the adaptability of the lips and breath to precise intonation.

You can practice accurate intonation on any material, it is useful to play arpeggios, triads and other chords in slow motion. The best results are achieved when working on a piece of music with piano accompaniment and in an ensemble. In this case, solfegging becomes very useful, as well as exercises in determining chords by ear, reading from a sheet of gradually becoming more complex musical material.

In order to flawlessly clean intonation, a musician needs only a fine ear, he also needs to know his instrument well, and in particular, the patterns of tuning in wood and brass groups. The performer's knowledge of the ways to achieve the purity of the system and the methods of working on intonation will dramatically increase the artistic level of the performance. Some design features of wind instruments that influence the formation of the intonation system should be taken into account.

On wind instruments, even of the highest quality, when the performer does not follow the intonation, pitch deviations are noticeable. Even the most modern wind instruments cause some sounds to deviate from the normal setting. Therefore, the student should explain the features of achieving a precisely fixed sound on wind instruments.

On wind instruments, the transition from one step of the chromatic scale to another occurs as a result of a change in the pressure of the air stream entering the instrument and the length of the air column contained in its channel. This is achieved by regulating the tension of the labial muscles and the exhaled air stream, as well as by using the appropriate fingering.

Consequently, intonational deviations of individual sounds from the norm of tuning can be eliminated or significantly corrected with the help of a lip apparatus. Sometimes, along with the volume, the pitch also changes, which indicates the inattention of the performer or the weakness of his labial muscles. Some players on brass and reed wind instruments lower the sound when playing crescendo, forte and fortissimo, and raise it when playing diminuendo, piano and pianissimo. But with careful auditory control, you can use the labial apparatus to maintain the pitch of a given sound in various nuances.

In order to achieve purity of intonation on wind instruments, the performer must systematically develop his labial apparatus, know well the intonation features of his instrument, additional and auxiliary fingering and skillfully apply them.

It is known that the pitch of the sound taken on any of the wind instruments is affected by the degree of tension of the lips of the player and the strength of the air stream sent to the instrument. The better the performer has developed musical ear, lip apparatus and breathing technique, the more stable and purer his playing will be intonationally stable and pure. Therefore, work on achieving purity of intonation should be carried out on material that contributes to

uniform development of all elements of performing technique.

To achieve this goal, exercises built on sounds of a long duration are very favorable. They give the performer the opportunity to: a) control the pitch, stability of the timbre, the density of dynamic changes in each extracted sound; b) strengthen the endurance of the muscles of the lip apparatus; c) develop performing breathing, achieving full inhalation, gradual and even exhalation.

Such exercises help the performer to develop coordination of the actions of the lip apparatus and breathing when extracting sounds. various heights. The skill of preparing a labial apparatus should be closely related to the ability to maintain the exact intonation of a sound during its milling.

Some teachers believe that sounds of a long duration should be played in a diatonic or chromatic sequence, others recommend performing these sounds in the form of a series of arpeggios of a certain harmonic sequence.

When playing exercises in arpeggios, their modal organization provides the necessary conditions for auditory control over each extracted sound, and the alternation of sounds of different registers contributes to the strengthening and uniform development of the lip apparatus throughout the entire range. After mastering the skills of purity of intonation of triads, you can proceed to the development of dissonant chords.

At the same time, the performer must achieve a clear beginning of the sound, stability of intonation, evenness of nuance and timbre coloring of the sound throughout its entire length, and also ensure that the sound ends at the moment chosen by the performer. As you master the sounds in these nuances, you can move on to more complex nuance sequences (pp< ff, ff >RR; ff > PP sf< ff и т.п.). Следует добиваться плавности в crescendo и diminuendo.

A special direction of pedagogical efforts should be the development of lip technique, on which the beauty of sound and intonational accuracy depend. The lips of a wind instrument performer must be able to withstand significant and prolonged stress and, in addition, quickly change the degree of this stress depending on the pitch and strength of the sound being extracted. While low and medium sounds require only slight tension, high sounds require the strength and endurance of the lips, which are formed only as a result of long and systematic training. Mobility, the ability to instantly and accurately achieve the degree of tension that is necessary to obtain a sound of the required height, is a factor in performance. But excessive haste in this can lead to undesirable results: hissing overtones and dullness of sound appear. You should select such musical material in which the expansion of the range both up and down will be quite gradual; scale exercises should be actively used, as well as exercises built on chords in various combinations and scales performed by broken thirds and sixths. When the lips and associated facial muscles are sufficiently developed, the lip technique should be supported by exercises with a wide range of changes in lip tension.

In order for the sound to be impeccable in terms of purity of intonation and satisfactory in terms of timbre quality, an exact correspondence between the degree of tension of the lips and the force of exhalation is necessary. What is needed is the degree of tension of the facial and respiratory muscles, which will ensure intonational accuracy and sound quality.

The degree of mobility and endurance of the lips is inextricably linked with their position on the mouthpiece. For some performers, the exhaled stream of air does not come out in the center, but somewhat away from the middle of the lips. Taking into account the characteristics of the lips when setting the mouthpiece will allow the performer

achieve the best sound and high technology lips. The objective rules of staging must correspond to the subjective feelings of the performer, the slightest changes in which are always associated with changes in the nature and quality of the sound.

A new sound quality can only appear as a result of long and systematic exercises, in particular, when playing music at a slow pace. In this case, the performer can focus his attention on each sound and make appropriate adjustments in the position of the lips, in breathing and the degree of tension in the muscles of the face.

It is not always correct to say that the sound of a wind instrument is influenced by the volume and shape of the oral cavity, since in the performing process of a wind player neither the oral cavity nor the larynx are resonators, which, in particular, was proved in the work of N. Volkov " Experimental study of some factors in the process of sound formation (on reed wind instruments).

Practice shows that the greatest intonation errors are observed in performers who have a poor sound timbre when playing an instrument. A sharp, noisy sound that is not characteristic of this instrument produces an unpleasant impression, causes a feeling of falseness. The wind player is obliged to use additional and auxiliary fingerings in scales, etudes, exercises and pieces, achieving an even sound of the instrument in all registers, regardless of the type of fingering.

An important tool for developing pure intonation skills is playing in an ensemble. It develops the musician's ability to hear and determine the role of his part and perceive the sound as a whole, and also obliges each performer to cultivate the ability to equate the sound of his instrument with the general sonority.

In achieving purity of intonation, it is of great benefit to work on pieces, studies, scales and various exercises at a slow pace. It makes it possible to more clearly realize one's performance shortcomings, to analyze the cause of their occurrence, to check the effectiveness of the means chosen to correct certain errors.

Practice shows that the system of wind instruments is significantly affected by temperature conditions, methods of general tuning of the instrument and its individual registers, the condition of the reed and mouthpiece, manufacturing defects, violation of operating rules and some other circumstances.

All wind instruments tend to go down when they are cooled, and when they are heated they tend to go up. In the process of playing, the wind instrument is influenced by both the ambient temperature and the temperature of the air exhaled by the performer. As a result, a certain working temperature state the instrument itself, the most favorable for tuning. Adjustment is also necessary during the game, when the overall tuning of the instrument can increase or (more rarely) decrease. In this case, the performer must change the tuning of the instrument accordingly.

1.3. Tool setting.

A method for correcting instrument tuning inaccuracies by the interaction of lip tension and breathing is possible in cases where the pitch deviation from the norm is insignificant. When the inaccuracy is so great that the performer cannot overcome it by these means, it is necessary to eliminate the design flaws of the instrument.

Wind instruments sometimes have defects that have arisen during their manufacture or repair, as well as as a result of violations of the rules for their operation. These include, first of all, the non-compliance with the established standard of the length of the crowns of the mouthpiece or mouthpiece, the diameter of the sound holes in woodwind instruments, the discrepancy between the “pads” of the valve cups, as well as too little or too much opening of the sound holes, the formation of dents on brass instruments and rainfall in their channel. These defects adversely affect the structure of instruments, change the pitch of individual sounds. Most of these defects can be eliminated by the performers themselves.

However, even with the most expedient setting, a performance on an instrument of the highest quality can still be out of tune. Sometimes the reason for the false sound is the inability of the student to listen performed music. The performer must distribute his attention in such a way that he can hear both his performance and the music accompanying it well, and find support for accurate intonation in the sounding harmony.

Considering pure intonation absolutely obligatory for every musician, this quality should be developed in the student from the very first stages of training. Only constant observation of the accuracy of intonation, drawing the student's attention to each false sound can create a student's critical attitude to the slightest intonation inaccuracy. This, in turn, enhances the adaptability of the lips and breath to precise intonation.

It is not advisable to create special exercises for the development of accurate intonation. You can practice intonation on any material. All you need is attention and sharpness of musical ear.

Developing purity of intonation among beginners, one should use more exercises and pieces in which every inaccurate sound is clearly visible. Slow motion arpeggios, triads, and other chords are very useful. While working on the system, it is necessary to take into account the intonation properties of intervals. In practice, the following phenomenon is observed: large intervals are usually performed with a tendency to lower the upper sound, small ones - to increase. Therefore, when doing any exercises, it is necessary to demand from the trainees that in a large interval the upper sound is performed a little higher, and in a small one - lower. Respectively,

if the upper sound of the interval is the main one, then in large intervals the lower sound should be performed somewhat lower, in small intervals - higher. Thus, large intervals should “expand” a little, and small ones should “narrow”. The same applies to intervals increased and decreased.

1.4. Vibrato on wind instruments

The problem of pure intonation often turns out to be related to the problem of vibrato on wind instruments. Vibrato on wind instruments is a periodic pulsation of exhalation, leading to changes in pitch.

For some performers, natural good vibrato is obtained without much preparatory training, for others it has the character of an unpleasant trembling of the sound, which should be combated. It is necessary to require young performer perfectly flat sound for a long time, so that the small rattling vibrato disappears.

Moderate midrange vibrato on a wind instrument gives the impression of a warm, soulful sound, it improves the quality of the timbre, and too much vibrato makes the sound unstable. A wind instrument player should use the vibrato technique moderately: the continuously trembling sound of a wind instrument quickly gets boring.

One way to vibrato is to shake the instrument with your hand, as some trumpeters do. Horn players sometimes vibrate with movements right hand in the socket of the tool. Another technique is periodic weakening and strengthening of exhalation, created, according to some performers and teachers, by successive narrowing and widening of the glottis.

Vibrato exercises are performed on a slow, beautiful cantilena. It is useful to listen to performers who have good vibrato, as well as to use sound recordings of masters who own this technique to a high degree. Thus, performers on wind instruments have quite ample opportunities to achieve purity of order and intonation, you just need to be able to use certain techniques in a timely and correct manner.

1.5. Features of the execution of strokes and methods of working on them

In the technique of performance special meaning has stroke execution. The term "stroke" comes from the German word strich (line, line) and is related in meaning to the German verb streichen (lead, stroke, stretch). Strokes are characteristic techniques for extracting, leading and connecting sounds, subordinate to the content of a musical work. The problem of performance strokes is rather complicated in

the strength of their expressive-semantic and technological components.

The expressive and semantic meaning of performing strokes lies, first of all, in the fact that they are an integral part of articulation, that is, the continuous or separate “pronunciation” of sounds during the game. Any grouping of notes in a musical phrase can be "pronounced" by the performer in different ways, and this will significantly change its semantic meaning.

Strokes are organically connected with the peculiarities of musical phrasing. The direct connection between strokes and musical phrasing is clearly seen in the legato stroke. The leagues displayed in the notes can have a phrasing and stroke meaning. In many cases, the meaning of these leagues coincides, and then ideal conditions are created for the implementation of expressive phrasing. However, phrasing leagues often combine too large phrases, and then the performers are forced to replace them with dashed ones.

The expressive meaning of strokes is also closely related to dynamics and agogics, since changes in sound intensity and tempo usually change stroke shades as well.

When playing wind instruments, a change in the volume of the sound is accompanied by a natural change in the nature of the attack of the sound and causes a change in dashed shades (for example, staccato turns into detache).

Like dynamics, strokes in their graphic expression do not accurately determine the nature of the musical phrase or passage being played. The stroke designations indicated in the musical text are not always final, therefore, the performers are required to be able to supplement or clarify them in accordance with the content and style of the music. A performance that does not use colors achieved by different strokes produces a sluggish, monotonous impression. The correct selection of stroke shades is of great artistic importance and serves as an indicator of the good taste and musical culture of the performers.

In performance on wind instruments, the technique of strokes is provided by a change in the speed of movement of the tongue when a sound is attacked, by different duration and intensity of exhalation, as well as by the corresponding “restructuring” of the player’s labial apparatus.

In the practice of playing wind instruments, certain types of rhythm (for example, dotted rhythm) or dynamic shades were often called strokes, and it is easy to see that there were and still are some ambiguities in this matter.

One of the first and most significant attempts to systematize the issue of strokes when playing wind instruments was made in the 30s. outstanding Soviet performer and teacher V. Blazhevich.

In his methodical works "School for Extendable Trombone" and "School of Collective Playing on Wind Instruments" V. Blazhevich outlined in detail his views on the essence of various methods of sound production, which deserve serious attention.

Blazhevich V. declared the possibility of using the following types of attacks when playing wind instruments:

a) attack without pushing the tongue;

b ) soft attack (portamento);

in ) attack non legato;

d) sounding attack (detache);

e) accented attack (sforzando);

f) heavy attack (pesante);

g) short staccato (spiccato);

h ) jerky staccato (secco) and staccatissimo;

to ) double staccato;

l ) triple staccato.

Developing and systematizing the views of V. Blazhevich on the strokes of wind instruments, his student B. Grigoriev in his "School of playing the trombone" divided the strokes into three groups:

a) hard attack group (detache, pesante, marcato);

b) short attack group (spiccato, secco, staccatissimo);

in ) soft attack group (non legato, tenuto, portamento).

This systematization ensures that the strokes are closely related to the attack of the sound.

AT teaching aids Professor N. Platonov "School of playing the flute" and "Methods of teaching to play the wind instruments" are considered as strokes: legato, staccato, portamento.

However, when playing wind instruments, the concepts of “stroke” and “sound attack” are not identical, although they are very closely related. The attack of the sound is only the initial moment of extracting the sound. In accordance with the different nature of the music, it is conventionally accepted to distinguish between the two most characteristic shades of attack: a “hard” attack and a “soft” sound attack.

A "solid" sound attack is characterized by an energetic push of the tongue and an increased pressure of the exhaled air stream. In the practice of playing and learning on wind instruments, it is usually associated with the pronunciation of the syllables tu or ta. A "soft" sound attack is carried out with the help of a softened push of the tongue, which calmly pushes back from the lips, which is usually associated with the pronunciation of the syllables du or yes. The quality of the sound attack, that is, its beginning, is extremely important for wind instrument players, since it largely determines the nature of the performance of various strokes. A stroke is a broader concept, since the attack of a sound is only an integral part of a stroke. A stroke is a performance technique that combines a certain character of extracting, leading and connecting sounds, that is, it includes the entire duration of the sound, from the beginning of the sound to its end.

When playing wind instruments, the following strokes can be used:

1. Detache - a performance technique characterized by a distinct (but not sharp) push of the tongue when attacking individual sounds and their fairly complete length, which is achieved due to a uniform and smooth supply of exhaled air. In musical notation, it usually does not have special designations, which draws the performer's attention to the need to fully maintain the duration of the sound.

2. Legato - a technique for coherent performance of sounds, in which the language participates only in the reproduction of the first sound; the remaining sounds are performed without the participation of the tongue, with the help of coordinated actions of the respiratory apparatus, fingers and lips of the player.

3. Staccato - a performance technique characterized by the extraction of jerky sounds. It is achieved with the help of quick jolts of the tongue, which regulate the start and stop of the movement of the exhaled air stream.

A variety of staccato is staccatissimo - a technique for performing individual, maximally jerky sounds.

4. Marcato - a technique for performing separate, emphasized strong (accentuated) sounds. It is carried out with the help of a sharp, activated push of the tongue during an attack and an energetic exhalation.

5. Non legato - reception of an incoherent, somewhat softened performance of sounds. It is achieved by a softened push of the tongue, which slightly interrupts the movement of the exhaled air stream, forming small pauses between sounds.

6. Portato - a technique for performing softly emphasized, ligated and fully sustained sounds. It is carried out with the help of extremely soft jolts of the tongue, almost without interrupting the movement of the exhaled air stream.

In addition to these performance techniques, in the practice of playing some instruments (flute, cornet, trumpet, horn, trombone and bassoon), specific strokes are used - double and triple staccato - a technique for performing fast successive jerky sounds. This technique is based on the regulation of the flow of exhaled air into the instrument, carried out alternately by the front end of the tongue and its back. The practical implementation of this technique is associated with the pronunciation of syllables: tu-ku or ta-ka.

Triple staccato differs from double only in that in this case not two, but three syllables are pronounced (tu-tu-ku or ta-ta-ka). This technique is used mainly by performers on brass instruments in those cases when it is necessary to perform a triple alternation of sounds at a fast pace (triplets, sextoles, etc.).

In performing practice, there are frequent cases of erroneous attribution of some tenuto and pesante sound extraction techniques to the category of strokes. musical term tenuto (seasoned) means the need to fully maintain the duration of the sound. It does not form an independent stroke, since the technique for performing this technique is no different from the detache stroke. The notation tenuto usually serves as a reminder of the need to fully sustain a given sound. It is indicated in musical notation by the word tenuto, and sometimes by a dash.

The term pesante (heavy, heavy) denotes the technique of performing "heavy" sounds, which is especially common in the practice of playing brass instruments (trumpet, trombone, tuba, etc.). It also does not belong to the number of strokes, since it only indicates the required nature of the performance, while the technical basis for the implementation of this technique is again the detache stroke. In musical notation, this technique of performance is marked with the word pesante.

When choosing strokes, the performer must be guided by the author's instructions and follow them exactly. In those cases where there are no author's designations of strokes, the performer must choose the appropriate strokes himself. However, this must be done skillfully so as not to violate the semantic content of the music being performed.

To achieve the clarity of the occurrence of each sound, it is necessary that the beginning of the exhalation be absolutely certain, and each sound, upon its occurrence, immediately receives the necessary degree of tension. The tongue, acting as a valve, opens and stops air from entering the instrument, regulates not only the duration of individual sounds, but also the nature of the strokes. The material for training in the performance of strokes is the systematic play of scales and arpeggios in different strokes, as well as special etudes. In the development of the technique of performing jerky sounds, very careful observation of the exact coincidence of the movements of the tongue and fingers is necessary so that no extraneous overtones appear. The skill of performing various strokes requires systematic development and improvement.

The initial acquaintance with the strokes begins with detache, since this stroke is very important when playing on all wind instruments. Working on the detache is very important for wind players: it helps to develop a clear and precise sound attack, an even flow of exhaled air and contributes to the formation of a full, beautiful sound. When performing detache, the musician must pay special attention to the fact that the energetic push of the tongue during the attack and the beginning of the exit are carried out exactly at the same time. It is also necessary to achieve complete preservation of the duration of sounds: sometimes performers shorten sounds. A wide cantilena, genuine "singing" on the instrument, mastering a clear and "sounding" technique are associated with the constant use of the correct detache. The stroke is the foundation for the successful mastery of such playing techniques as: marcato, tenuto, etc. As exercises for mastering the detache stroke, it is recommended to use the performance of scales and arpeggios in slow motion.

The second step in mastering the strokes is to work on the legato. This stroke on almost all instruments (except for the trombone) is mastered quite easily, but requires compliance with a number of conditions. It is necessary to ensure that the exhalation and the transition from sound to sound are made as smoothly as possible, without shocks, the so-called "squeezing" of the sound is unacceptable. Performers on brass, embouchure instruments when playing legato should not be allowed

the appearance of a “gliding” connection of sounds, for which it is necessary to closely and timely change the “tuning” of the lips and reinforce their work with an active exhalation. When playing woodwind instruments, correct (“economical”) finger movements are also necessary, without excessive lifting of them above the instrument and deviations to the sides.

The most problematic is the performance of legato on an extendable trombone. A coherent performance of sounds on the trombone requires a clear and fast movement of the wings, without jerks, which helps to overcome the glissando elements that are inevitable when the wings move slowly. For the development of this technique, exercises from V. Blazhevich's manual "School for the development of legato on the train trombone" are used.

As exercises for developing legato on all wind instruments, scales and arpeggios of all kinds are usually used, as well as various examples of wide, cantilena music.

The next step in the development of the stroke technique is the work on staccato. The player must master a quick and light thrust of the tongue during an attack, but the speed of tongue movements (hard to achieve in itself) must be precisely coordinated in time with the movements of the fingers and must be supported by the corresponding pressure of the exhaled air stream. The jerky reproduction of sounds should not distort their quality: sounds should not lose their natural “roundness”.

Proper performance of staccato requires the correct attack of the sound. In particular, reed instrument players are not recommended to put their tongue deep under the reed, and brass players should not insert it into the labial fissure, since a full-fledged attack will not work in this case. The tongue should approach the lips and close the labial fissure only at the last moment before the attack of the sound, otherwise the effect of the so-called “stuttering” occurs, when the stream of exhaled air compacted in the oral cavity presses the tongue to the lips, prevents it from being freely repelled from the lips (or from the upper teeth). ), which results in a delay in the attack moment of the sound. Sometimes this phenomenon is due to the psychological "fear" of the first sound.

The technique of performing staccatissimo is almost no different from the way of performing staccato, it requires the utmost abruptness and clarity of sound, without excessive exaggeration and reduction in the duration of sounds due to the tight closing of the lips after the attack (sounds become sharp and “dry”, non-musical, reminiscent of knocking). With any kind of staccato, sounds must retain intonational clarity, "roundness" and natural timbre.

Special attention it is necessary to pay attention to the performance of the "double" staccato. Techniques for performing it on wooden and copper instruments are different. Performers on brass instruments use a paired combination of syllables (tu-ku) to perform even metric figures, and a triple combination (tu-tu-ku) to perform triplets; performers on woodwind instruments use only a paired combination of syllables (tu-ku) - easier and more accessible for mastering. This type of stroke is mastered by the novice musician of the latter. Fast, light and good sounding staccato is indispensable for the performance of light, graceful passages and is one of the most striking indicators of virtuoso, technical skill.

As exercises for the development of staccato, it is necessary to use special etudes, as well as playing scales and arpeggios.

In the initial period of learning on wind instruments, it is necessary to master the technique of playing marcato. Proper marcato is a very effective technique, especially when playing brass (embouchure) instruments. With its help, the performers manage to convey well the strong-willed, decisive nature of the music. This stroke requires the ability to produce a clear, accentuated sound attack with a sharp, energetic thrust of the tongue and forced exhalation. With skillful execution, each sound is given an emphatically strong, accentuated beginning. However, the accentuation of the sound should be moderately strong, different from sforzando. After mastering the basic strokes that require a “hard” sound attack, you should move on to studying the playing techniques performed with the help of a “soft” attack: non legato and portato, in the performance of which there are many similarities (common nature of attack and dynamics). These strokes are performed at a low volume of sound (from pp to mf). It should be borne in mind that when playing portato, sounds are played with maximum length, while when playing non legato, the duration of sounds is slightly reduced due to the formation of small pauses between sounds, the sound attack itself during portato is extremely “soft”.

Critical importance to perform strokes, the player has the ability to find the necessary sound attack for each stroke. The constant change in the hardness or softness of the sound attack gives the strokes an unusual flexibility and variety of their shades. Improving the technique of strokes is unthinkable without systematic training (daily practice on the instrument).

1.6. Development of finger technique

Another area of ​​work is the development of finger technique, the achievement of which should be gradual. An important condition for the normal and successful development finger technique is the absence of excessive

tension in the body of the performer. The student must play at a pace that allows you to follow the rhythm. Only the muscles directly involved in the work should experience the necessary tension, all other muscles should be weakened. Avoid unnecessary movements that make it difficult to perform.

Work on the development of finger technique requires rhythmic performance, purity in transitions from sound to sound (intonation errors occur due to inaccurate finger movements and inappropriate lip tension), and proper breathing.

To achieve purity in the transitions, you need to use the exercises written for this purpose. It is useful to study exercises based on a whole-tone scale and a scale consisting of a successive alternation of semitones and tones. Exercises should be alternated with artistic material that also educates different sides technology. The student must master the fingering of his instrument and freely use it. In addition to the main fingering and its varieties, on some wind instruments you can use auxiliary fingering. At the same time, studies on different kinds techniques and combination of techniques.

We must not forget that technique is only a means, that the fascination with external technical brilliance and the weakening of attention to the content of the work deprive the performance of artistry, meaningfulness and persuasiveness. The integration of expressiveness and emotionality of performance with high technical skill is the height of the performing school.

The lag of any side of the student's technique should be compensated by the study of the corresponding etudes, exercises or plays, but this instructive literature should not prevail over fiction literature.

When educating a performer in the field of pop music, one of the most relevant areas is the development of a sense of rhythm. A special rhythmic feeling in the performance of pop music is developed only through practical exercises. Without rhythmic clarity and expressiveness, the performance of virtuoso works becomes pale, meaningless. Consequently, the student needs to develop the ability to feel the metro-rhythmic pulsation: the sharper and more accurate its sensation, the more perfect the rhythmic side of the performance.

However, the ingrained habit of emphasizing the meter with external movements can fetter the performer and limit his technical capabilities, for example, in jazz performance, in which the musical rhythm can be very far from mechanically precise and measured movement. Accompaniment by the teacher of the student's performance by tapping with his foot, clicks, counting the beats aloud or otherwise emphasizing the meter also interferes with the development and identification of his own meter-rhythmic sensations, which should be flexible and expressive.

A well-developed ability to feel the exact meter provides the basis for the manifestation of rhythmic freedom, which is the most important means of expression in the performance of pop-jazz works.

For the development of a meter-rhythmic feeling, it is useful to play pieces in compound (five-beat, seven-beat, etc.) meters, as well as comparing triplets with groups of two or four notes, as well as pieces with frequent deviations from the main rhythm.

Particular attention should be paid to the rhythmic side of the performance of cadences written without division into measures: it is necessary to find a metro-rhythmic form and correctly determine the place of the first accent. Often, for an expressive performance of a cadenza, it is necessary to significantly disrupt the uniformity of movement (acceleration in one place can be compensated by a corresponding slowdown in another).

One of the most important tasks facing the performer is to determine the tempo. The correct interpretation of the author's intentions largely depends on the exact choice of tempo; the wrong tempo distorts the meaning of the music.

1.7. Developing a sense of tempo stability

Particular attention should be paid to developing a sense of tempo stability. It is also important to form a sense of motor (muscle) memory for tempo. Involuntary fluctuations in tempo can occur as a result of a number of reasons, which include: pop nervousness, excitement, depression, agitation, etc. Involuntary deviations from a pre-planned tempo occur due to the inexperience of the performer in very slow or fast passages. In temperate zones of the product, errors are less noticeable.

The stability of the tempo and its modifications is achieved through a special long-term training with a constant return of the student's attention to this most important issue. Finding the tempo helps the performer with his musicality and artistic sensitivity. You should also observe the mathematically accurate metronome data indicated by the author. After prolonged exercises for weeks and even months, with constant checking of the newly taken tempo with the previously established one, the student develops a sense of the tempo found and mastered by him.

The formation and improvement of tempo and rhythmic feeling is carried out through specially selected exercises, fragments from works of pop and jazz music in order of increasing complexity.

Mastering should begin with slow pieces, gradually moving to faster tempos and complex rhythmic patterns, practicing the transition from one to another. At the next stage, the technique of changing tempos is practiced: a gradual and sudden transition from one tempo to another. One of the main specific elements of performing skills in brass, pop and jazz orchestras and ensembles is swing - rhythmic impulsivity that creates a special characteristic tension of sound at the moment of performance of a piece, a feeling of a steady increase in tempo, although formally it is considered unchanged.

Thus, specially organized work with the student on the development of tempo-rhythmic skills will greatly contribute to the development of performing skills. In addition, rhythmic accuracy when performing on wind instruments will largely depend on the accuracy of breathing and its adequacy to the tempo and rhythm of the piece being performed.

1.8. Developing a good musical memory

The subject of special concern of the teacher should also be the development of a good musical memory. Memorization can be unintentional, being the result of multiple repetitions of musical material, it is characterized by sketchiness and inaccuracy (mechanical repetition without the necessary analysis of music usually does not provide a strong memorization).

In the process of deliberate memorization, the material is preserved in all details and is firmly held in memory. The teacher should help the student to understand the logic of musical (melodic and harmonic) development, the structure and features of the form of the work, which will facilitate the process of memorization. Work on the development of a student's musical memory should be everyday, based on systematic training. The quality of intentional memorization depends on the number of pieces that the performer memorizes.

For good and quick learning, you must first familiarize yourself with the entire work, then, dividing it into its constituent parts, carefully study these parts, gradually combining them into larger sections, and, finally, work on the entire work as a whole. An indicator of a good memorization of the musical repertoire is the student's ability to play any fragment of a work from memory or transpose it into a different key. It is known that the clarity of form, the naturalness and expressiveness of melody and harmony contribute to the ease of fixing music in memory, and, conversely, the deliberateness, unnaturalness of music makes memorization difficult.

1.9. Developing sight reading skills.

Of particular relevance to performance in a variety orchestra is the development of sight-reading skills. It is impossible to ignore this type of work in pedagogical practice, it is necessary to instill in the student an interest in this kind of creative activity. If a student at a music school did not get involved enough in reading music, then at a music school, at a university, and even more so in practice, he will always painfully feel this pro-

white Unfortunately, teachers in the specialty do not always pay due attention to the development of sight reading skills. This happens not only because some teachers do not understand the importance of the issue, but often due to lack of time. Therefore, each teacher should use every opportunity to develop in his students the qualities of free orientation in the musical text.

As experience shows, the teacher has a lot of such opportunities. This refers to the familiarization with new musical material, which takes place in almost every lesson, and the allocation of a small amount of time from the total lesson limit for reading unfamiliar musical text by one student or as part of a duet, trio, etc., and, finally, home reading assignment.

In order to get acquainted with the new musical notation the student made as few mistakes as possible, it is recommended:

a) visually familiarize yourself with the new text, comprehend its tonality, metro-rhythmic structure, in general terms, dynamics, strokes, the nature of the music, as well as its target setting (if it is an etude or exercise);

b) choose a tempo (temporary) at which at this stage it is possible to play the most technically difficult places without disturbing the general nature of the movement of the music. An unsuccessfully chosen (too fast) pace leads to the fact that the student reads relatively light material freely, but, having reached difficult places starts to slow down and eventually stops. The goal remains unattained;

c) to accustom the student to the complex perception of musical material, the ability to grasp the musical text as widely as possible visually and in a semantic sense, not to focus only on the note that this moment you perform, but to be able to look at a few notes (or even bars) ahead.

The development of sight reading skills should be built strictly on the principle: “from simple to complex”. Sight-reading material should be selected with exact regard to the student's abilities, but not too easy, but one that could develop him. When getting acquainted with a new musical text, it is impossible to set a large amount of performing tasks for the student, the volume of tasks should increase as the student accumulates the necessary professional skills and performing skills. Therefore, it is hardly expedient to demand from the student that, in addition to the exact reproduction of the text, he also achieve exceptional expressiveness of performance when reading from a sheet. No skill in sight reading can replace in-depth work on musical text.

Conclusion

Based on this work, in order to obtain high-quality results by students, the following can be distinguished:

Creativity, love and faith in the profession are the components of the success of the pedagogical process of teachers;

A teacher in the specialty - a teacher, educator, mentor, authority and trust in a student's teacher - the main thing a teacher should strive for throughout educational process at school;

Systematically improve oneself by studying, analyzing, applying new methods in practice, not being afraid of the new and not being afraid to make mistakes;

Be a professional performer, always maintain your performing skills, but do not abuse it in the classroom, in front of students;

Be able to independently analyze and critically evaluate the results of their work. Correct your mistakes or difficult moments of a technical, pedagogical plan with colleagues. Since a person cannot be perfect, but many problems can be solved together;

To educate students in artistry and responsibility for their game when performing on stage.

Used Books.

1. Tarasov G.S., “On the question of the intonational nature of musical ear”, Psychological Journal No. 5, 1995;

2. Terekhin R., "Methods of teaching to play the bassoon", M., 1988;

3. Usov Yu., “Issues of musical pedagogy”, M., 1991;

4. Usov Yu., "The history of foreign performance on wind instruments", M., Muzyka, 1989;

5. Usov Yu., "History of domestic performance on wind instruments", M., Muzyka, 1986;

6. Usov Yu., "Modern foreign literature for wind instruments", M., 1990;

7. Usov Yu., "Methods of teaching to play the trumpet", M., 1984;

8. Fedotov A.A., “On the possibilities of pure intonation when playing wind instruments”, M., Muzyka, 1966;

9. Fedotov A.A., "Methods of teaching to play wind instruments" M., Muzyka, 1975;

10. Yagudin Yu.O., “On the development of the expressiveness of sound. Methods of teaching to play wind instruments, M., Muzyka, 1971

Music works wonders - it affects mood, gives strength in difficult times and has a beneficial effect on well-being and thought processes. We can safely say that music is not only beautiful, but also a therapeutic art. Modern researchers are actively studying the role of music in the development and upbringing of a child, and are anxious that music take its place among the compulsory sciences, as it did in the Renaissance. The American scientist Martin Gardner, through a series of experiments, found out that children of senior preschool and junior school age who studied worse than their peers, after more in-depth studies in the arts, leveled off in their studies and even excelled in mathematics.

Moreover, in Austria they conducted a curious experiment with younger and older students, during which some changes were made to the curriculum. Reduced math workload for children foreign languages and replaced study hours with music lessons. And what would you think? For three years, children who studied according to the experimental program showed identical knowledge with their peers who mastered the program without changes. Moreover, grades in foreign languages ​​in children from the experimental classes were significantly higher.

Music classes allow you to keep a balance in the development of the hemispheres of the brain, while classes in the exact sciences alone involve only the left hemisphere more. The most important thing is that the child himself is drawn to art, because the transformation of music into coercion can only end in disgust for the subject.

If you decide to choose music as a hobby for a child, and perhaps as a future profession, think with your child about which instrument will suit him best. On Rambler/Family, read about how to choose a tool for a baby and what are the positive and negative points exist for those who are intensively involved in music.

Piano

If you are a happy owner of a piano that is still in good condition, do not rush to seat the child at the instrument. First, talk to your baby about music, listen to various classical and contemporary works and find out which of the tools attracts your baby more than others. Perhaps he gravitates more towards the strings.

There is another effective way to determine how a child relates to music - take him to a real concert and acquaint him with the work of artists. Luckily, there are new ones all the time. musical events for children who do not tire, but captivate the baby. For example, the festival "Tili Mi Jazz", which includes the performance of children's music, author's arrangements of songs from cartoons and the performance of kind and creative adult inventors.

If the offspring still wants to play the piano, training should begin at the age of five or six, since earlier lessons can be harmful. Until the age of 5, the child's muscles are not yet ready for serious stress, so setting the hand, developing perseverance while the child is sitting on the edge of the chair and with a straight back, is a serious test for the child's body. Up to 5 years old, you can play with your son or daughter: find sounds by ear, study octaves and their timbre sound.

If you start learning to play the piano at the right age and carefully monitor the correct placement of hands and sound production, as well as control the correct fit at the instrument to avoid the development of stoop and curvature of the spine, your child will enjoy the lessons, his fingers will acquire fluency and stretch , his back will always be straight, and, in addition, the baby will develop perseverance and the ability to perfectly perceive and memorize a large amount of information by ear.

Violin

boy with violin

It is said that the violin develops the ear better than other instruments. But some believe that the violin develops scoliosis, because the instrument must be held with the chin, which means that the neck is in a tense and not quite familiar position for a long time. In addition, it is quite difficult, and sometimes painful, to pinch the strings with children's plump fingers.

It is not worth giving up on the idea of ​​learning to play the violin. What if the violin is the perfect instrument for your child? Why miss the chance to develop the musical talent of the offspring? Of course, at first you will have to endure inept passages and unpleasant “meow” sounds, but very soon you will be proud of your little musician.

Saxophone

The saxophone is one of the most romantic instruments, because its timbre is considered the most penetrating and ideal accompaniment for love dates. It is believed that the saxophone is an instrument for boys, but this is not entirely true, because in order to master the technique of playing, you need to have decent lungs and good hearing, and not at all strong muscles and strong fists. The most common version of the saxophone is the alto. Usually it is on it that children are taught, and after graduating from a music school and entering a university or to participate in jazz ensemble choose a different timbre - baritone, soprano or tenor - a division identical to the human voice in pitch.

It is believed that playing wind instruments helps a child cope with ailments such as asthma or tonsillitis on early stage development. In addition, when playing the saxophone, the so-called "abdominal breathing" develops, in which the abdominal muscles work. Such breathing is useful in yoga and singing lessons. The only thing to consider is that it is better to start learning to play the saxophone at the age of 10-12 years, when the body is formed and the lungs are strengthened.

Flute

If your soul, and most importantly, your child's interest lies more in a light "fluttering" sound, try the flute. The most difficult moment is to get used to and extract the first sound from the instrument, but then everything will go like clockwork. If the future flute player is under 10 years old, it is worth buying a special J-shaped mouthpiece for the instrument, because a straight mouthpiece can cause problems with the shoulders and back of the child. When the baby has mastered the basics of sound production, it will not be difficult for him to switch to a flute with a straight mouthpiece without any damage to health.

The flute is recommended for children, in particular those experiencing problems with the respiratory system. The point is that the flute requires a deep breath and a slow, extreme exhalation - and this is the most intense aeration of the lungs, which can be beneficial for a tendency to protracted bronchitis and colds, with allergic lesions of the respiratory tract, as well as apathy and bad mood.

Guitar

A large number of boys, and girls too, dream of becoming rock stars and impressing the audience with an incredible guitar solo! Perhaps the guitar often takes a leading position when choosing an instrument for learning music. And this is no accident, because the guitar is a huge scope for creativity. Your child will be able to play classical works and your favorite songs, and after mastering the acoustics, it’s quite possible to try yourself as a rock guitarist (although for this you will have to purchase an electric guitar and a couple of basic “gadgets” for it).

Another plus of the guitar is that it is easy to learn to play it for both children and adults, both at a music school and on the Internet (although the online version, of course, should be left for children from 12 years old, but in emergency cases when the baby cannot visit the teacher, this opportunity is quite suitable).

You can start playing guitar lessons from the age of 5, because classes develop fine motor skills.

In general, no matter what instrument you choose, the main thing is that your baby is happy and reveals his talent every day!

THE METHOD OF TEACHING PLAYING THE WIND INSTRUMENTS is an integral part of musical pedagogy that studies both the general patterns, forms and methods of individual training and education of wind players, as well as the specific features of the theory and practice of teaching various wind instruments.

The term "method" comes from the Greek word "methodos", which means a way, a way to move towards the truth. In musical pedagogy, the method acts as an ordered way of activity to achieve educational and artistic and creative goals.

M. o. and. on wind instruments is organically connected with psychology, physiology, aesthetics, history, cultural studies, musical acoustics. A kind of bridge between these sciences is general, age-related and musical-professional pedagogy. M. o. and. on wind instruments is one of the important sections of the specialty "Instrumental Performance" and in many ways contributes to the education of pedagogical culture, the expansion of artistic and musical horizons and the general theoretical background in the field of performance. Special knowledge is necessary for every wind player in order to eliminate mistakes in the process of mastering the technology of playing a special instrument, in order to more effectively achieve pedagogical and performing intentions. The tasks of methodological training in the field of teaching to play wind instruments are as follows:

To give the necessary knowledge of general and musical pedagogy and psychology, the theory of artistic creativity;

Focus on the use of psychological and pedagogical patterns and laws of creativity in everyday activities to increase the effectiveness of teaching the performing arts;

To teach to understand the features of the process of sound extraction, the functional work of the performing apparatus, rational staging;

Familiarize yourself with the specifics of performing activities, public speaking, etc.

In addition to a wide range of theoretical questions M. o. and. on wind instruments considers a number of practical issues. In this aspect, theory and performance practice influence each other, helping to solve educational and performance tasks in the most rational way. However, the establishment of common methodological internal connections and approaches between them presupposes the manifestation of external connections, due to the peculiarities and subtleties of sound production on a particular wind instrument. These subtleties are studied and considered in most detail by the so-called private methods, for example: the method of learning to play the flute, clarinet, trumpet, trombone, etc.

Modern M. o. and. on wind instruments relies on a single system developed in didactics, which consists of both classical, that is, long-known, and new principles that have appeared in the course of the development of pedagogical science and practice. These include: the principles of developing and nurturing education; scientific character and accessibility of the studied material; systematic and consistent in mastering knowledge and practical skills; creative activity and independence of students with the leading role of the teacher; visibility and unity of concrete and abstract, rational and emotional; the strength of learning outcomes and the development of cognition; a rational combination of collective and individual forms and methods of teaching. The task of didactics is to describe and explain the learning process and the conditions for its implementation, to develop a more perfect organization of the educational process, new learning systems, new learning technologies.

In 1935, the work "Fundamentals of Methods of Teaching and Playing Wind Instruments" was published, authored by professor of the Moscow Conservatory S. V. Rozanov (1870-1937). This manual was the first step in summarizing the accumulated practical experience of Russian wind players, revealing the main issues of theory and practice of teaching wind instrument performers. In his work, S. Rozanov formulated a number of methodological principles that were of great methodological significance in the further progress of domestic scientific and methodological thought:

The development of the student's technical skills must go hand in hand with artistic development;

In the process of students' work on musical material, it is necessary to achieve its conscious assimilation;

The knowledge of the anatomy and physiology of the organs involved in the playing process should be the basis for the correct setting of the game on a particular wind instrument.

To date, the scientific and methodological thought of wind musicians has already accumulated a solid theoretical data bank created by several generations of teachers and musicians of the domestic wind performing school, where a large proportion is specialized literature, which consists of two interrelated sections: the first - various teaching aids, ", instructive material, artistic pedagogical repertoire; second - scientific developments, dissertation research, methodological articles and essays, popular science brochures, works on art history.

The accumulation of new reserves of knowledge, the expansion of the sphere of penetration of scientific and methodological thought into performing and pedagogical practice is going in several directions today:

Development and improvement of the general theory and methods of teaching to play various wind instruments;

Studying the specifics and patterns of learning to play a specific wind instrument;

An objective experimental study of the sound of wind instruments, the nature of sound production and sound production, the features of the functioning of the performing apparatus;

Performing analysis of compositions for wind instruments of various eras, styles and forms, clarification of their editions; creation of methodological developments for the study of the repertoire;

Understanding the history of performance on wind instruments.

A great contribution to the development of modern theory and practice of playing wind instruments was made by: L. Belenov, V. Berezin, B. Dikov, V. D. Ivanov, S. Levin, V. Leonov, R. Maslov, N. Platonov, I. Pushechnikov, Yu. Usov, A. Fedotov and others.

Mametov Evgeniy Yurievich
Job title: class teacher - wind and percussion instruments
Educational institution: MBU TO DSHI
Locality: city ​​of Slyudyanka, Irkutsk region
Material name: Methodological report
Topic:"Methods of Teaching Wind Instruments"
Publication date: 15.10.2017
Chapter: additional education

Methods of learning to play the wind

tools

Developer:

Mametov Evgeniy Yurievich

Slyudyanka

1. Introduction

Psychophysiological foundations of the performing process on wind instruments

tools

Acoustic bases of sound formation on wind instruments.

4. Development of musical abilities in the process of educating a musician

5. Development of inner hearing.

6. Performing apparatus and sound production technique on wind instruments

tools.

Performing breath. His essence. Meaning. and development methods.

8. Characteristic disadvantages of staging by beginner musicians.

1. Introduction

The method of learning to play wind instruments is an integral part

musical pedagogical science considering the general patterns of the process

learning on various wind instruments. Russian pedagogical science in

the field of performance on wind instruments has no more than 80 years. She is

reached new frontiers by acquiring and developing further all the best that was characteristic

Russian school of playing wind instruments. Her successes are known not only in our

country but also abroad.

Composer Gedicke wrote: the technique of playing wind instruments went ahead by

so much so that if the best performers, especially on copper, lived 50-70 years ago

heard our wind players, they would not believe their ears and would say that it was

impossible.

It should be recognized that the theory of teaching methods on wind instruments as

part of pedagogical science among other methods is the youngest. Each

a generation of woodwinders contributes to the technique. The method of teaching on any

instrument is part of pedagogy.

Word methodology Greek origin translated into Russian - the path to

anything. A technique is a set of methods, that is, methods for performing any

work (research, educational). In the narrow sense of the word, a technique is a way

teaching a particular subject based on the analysis and generalization of the best teachers,

musicians and performers.

The methodology studies the patterns and techniques of individual learning. Methodology

contributes to the education of a general musical culture, broadens the horizons

performers. The technique is closer to the specialty. Outstanding

performer and teacher who laid the foundation for the development of the Soviet methodology was

Rozanov. His work Fundamentals of Teaching Wind Instruments Moscow 1935 was

the first work put on a scientific basis.

In his work, he formulated the principles that have become basic in

methodical school on wind instruments:

The development of technical skills in students should go hand in hand with

artistic development.

In the process of a student's work on a piece of music, it is necessary to

strive for its conscious assimilation and then it will be stronger.

The basis of the correct setting should be the knowledge of anatomy and

physiology of the organs involved during the game.

The main questions of the methodology formulated by Rozanov were developed by

professors Platonov, Yu. Usov, Pushechnikov, T. Dokshitser, G. Warwit.

The presence of a solid theoretical base makes it possible to raise the teaching of the game to

various musical instruments to a new level of quality.

2. Psychophysiological foundations of the performing process on wind instruments

tools.

musical performance is an active creative process

which lies the complex psycho-physiological activity of a musician.

Underline this wording directly. The player who plays any instrument

coordinate the actions of a number of components:

motor feeling,

musical aesthetic performances,

volitional effort.

This is also very important point. It is this variety of psychophysiological

actions performed by the musician during the game and determines the complexity of the musical

performing technique.

The further path of scientific substantiation of the musical-performing process

was associated with the study of the physiology of the higher parts of the central nervous system.

The teachings of the great Russian physiologist Academician I.P. Pavlov about the higher nervous

activity, about the inseparable connection of all life processes, the doctrine of the cerebral cortex

brain - as the material basis of mental activity helped advanced

musicians to change the approach to the justification of performing technique.

Educators and performers became more deeply interested in the work of the brain in the process

games. They began to pay more attention to the conscious assimilation of goals and objectives. Main

the principles of the cerebral cortex is a coordinated human activity

carried out through complex and subtle nervous processes continuously

flowing in the cortical centers of the brain. These processes are based on the formation

conditioned reflex.

Higher nervous activity consists of two most important and physiologically

equivalent processes:

excitation which underlies the formation of conditioned reflexes;

internal inhibition, which provides analysis of phenomena;

Both of these processes are in constant and complex interaction. mutually influencing

each other and ultimately regulate all human life.

3. Acoustic foundations of sound production on wind instruments

Unlike keyboard, bowed and percussion instruments, where in the role of a vibrator

solid bodies protrude (for strings - strings, special plates, skin for drums) all

wind instruments belong to instruments with a gaseous sounding body.

The reason for the sound here is the fluctuations of the air column of air.

caused by specific actions of pathogens. The specifics of sound production on wind instruments

tools depends on the device of the tools. Modern musical acoustics

all wind instruments are divided into three groups:

first group labeal from the Latin word laba(lip) also called them

whistling (all types of reed pipes, flutes, some organ pipes are included),

second group reed, reed or lingual from Latin

the words lingia(language) (all types of clarinets, all types of oboes, bassoons, all types of

saxophones and bass horns)

third group with a funnel-shaped mouthpiece they are usually

called copper(all types of cornets, trumpets, horns, trombones, tubas, horns,

fanfare).

How is sound formed?

On the flute, which is an instrument with a gaseous exciter, the sound

formed as a result of friction of the exhaled air stream against the sharp edge of the hole

the lady located in the head of the flute. At the same time, the speed changes periodically.

movement of the air stream, which causes the occurrence of sound vibrations in

flute channel. All reeds belonging to instruments with a solid exciter

form sounds by means of vibrations of special reed plates (canes).

The oscillatory process on these instruments is regulated by the actions of two

interacting forces: the translational movement of the exhaled air jet and the force

cane elasticity.

The exhaled stream of air bends the thin part of the cane to the outside, and its force

elasticity causes the reed plate to return to its original position.

These movements of the tongue (cane) provide intermittent jerky

the entry of air into the channel of the tool where there is a reciprocal oscillation of the air

column, therefore sound is born.

An even greater originality is the appearance of sound on wind instruments.

funnel-shaped instruments. Here in the role of a solid exciter of sound

the central parts of the lips covered by the mouthpiece protrude.

As soon as the exhaled stream of air enters the narrow labial fissure, it

causes the lips to vibrate. These fluctuations, changing the size of the opening of the labial fissure

create a periodic jerky movement of air into the mouthpiece of the instrument.

The result of this is the alternate condensation or rarefaction of air in the channel

instrument that produces sound.

Having considered the acoustic foundations of sound formation, we find one common

phenomenon: in all cases, the cause of sound formation is periodic

fluctuation of the air column contained in the instrument caused by

specific movements of various devices and sound exciters.

In this case, the oscillatory movements of the air jet, reed plates or lips

possible only if the various components are coordinated

executive apparatus

4. Development of musical abilities in the process of educating a musician

Despite approximately equal mental abilities and physical development

students we have different learning outcomes. Analysis of these phenomena

indicates that in the preparation of the performer, the intuitive beginning, that is, the presence

natural ability becomes crucial. V.M. Teplov in his

labor "Psychology of musical abilities" musical literature 1947

proves the possibility of developing all musical abilities on the basis of innate

makings. There can be no abilities that would not develop in the process of education

and learning.

What do we mean when we talk about musical ability or musical

makings?

First of all, we mean musicality. This is a good definition.

made Alekseev in his method of learning to play the piano. "Musical should

name a person who feels the beauty and expressiveness of music

perceive certain artistic content in the sounds of a work, and if it

performer then reproduce this content. " Musicality develops in

the process of correct well-thought-out work during which the teacher brightly and

comprehensively reveals the content of the studied works, illustrating their

explanations by showing on the instrument or recording.

The complex of the concept of musicality includes a number of necessary components and

exactly:

ear for music,

musical memory,

musical rhythmic feeling.

Ear for music

Ear for music is a complex phenomenon that includes such concepts as:

pitch (intonation),

melodic (modal),

harmonic,

inner ear.

Each of the named sides of musical ear has in training and in

performing practice great importance. The performer needs

the presence of a well-developed relative hearing, which makes it possible to distinguish

the ratio of sounds in pitch taken simultaneously or sequentially.

This quality is extremely important for an orchestral musician. Appreciated in the orchestra

a performer who listens well to his group, actively participates in it without violating

ensemble. The ability to hear imaginary sounds, write them down on paper and

to operate with them is called internal hearing. Musical ear develops in

the process of a musician. It is necessary to achieve that all work with the tool

proceeded with tireless hearing control.

The lack of students that they don't control their instrument playing

hearing. This is the main disadvantage of independent work of students. teacher for

specialty, it is necessary to constantly take care of the development of all components

musical ear and, above all, internal melodic ear.

5. Development of inner hearing

In addition to solfeggio lessons and homework in this subject

a teacher in the specialty requires performance from memory of acquaintances previously or again

heard musical excerpts ( picking by ear), the transposition of familiar

melodies in other keys, improvisation, as well as composing music, if any

enough data for that.

It is useful to teach students to analyze their own or another performance,

assessing them critically. Therefore, one must go to concerts not only of one's own

specialties: choir, chamber orchestra, wind, variety, ensembles, soloists, violinists.

For the development of melodic ear, it is necessary to systematically work on

cantilena (slow piece). Cantilena (slow piece) also develops endurance

because there is a big load on the lips, you take a lot of breath. Improving

harmonic ear it is useful to analyze the texture of the studied musical

works, play more in an ensemble, in an orchestra. invoice latin word in

figurative meaning of the device, the structure of the musical fabric.

A well-developed ear for music is essential condition for development

musical memory.

musical memory- this is a synthetic concept, including auditory,

visual, motor, logical. Musical memory also lends itself to development.

It is important for a musician to have developed at least three types of memory:

the first auditory serving as the basis for successful work in any area

musical art,

the second is logical connected with the understanding of the content of the work and

laws of development of musical thought,

the third kind of motor is extremely important for instrumental performers.

Many important role in the process of memorization, visual memory plays. working

over the development of the student's memory should be remembered: the memorization system is very important

music, the student must take into account that music flows in time, the creation

a work as something whole is possible on condition that its parts are retained in memory. AT

as a result of frequent performance, memorization may be intentional. memorization

it can also be deliberate when they specifically memorize individual passages, and then

the entire work.

Here it is necessary to know the form of the work, its harmonic structure. At

learning, it is important to be aware of the similarity, repetition of individual parts of the musical

forms, and attention is fixed on what distinguishes these parts, and what their

unites. Intentional memorization involves: visual, motor, as well as

more complex internal auditory memory. Checking the correctness of the learned

piece of music: recording memorized music without using an instrument

(notes), transposing a melody to a different key and the ability to start playing with

any place. The ability to start performance from any place testifies to the deep and

thorough knowledge of the performer of the music of the work.

6. Performing apparatus and sound extraction technique on wind instruments

Analyzing the technology of sound extraction on wind instruments, we can

set what it adds up:

visual-auditory representations: first you see a note, internally heard

this note;

performing breath: after you understand what kind of note it is and where it is

sounds about (in your head), you take a breath. This is the performance breath.

special work of the muscles of the lips and face: you need to put the lips and muscles in order to

take this note

specific tongue movements: that is, which tongue is hard, soft, or

coordinated finger movement: what kind of fingering and so on ...

continuous auditory analysis: these are all the moments until the last they are all

subject to auditory analysis (continuous)

These components are inextricably linked with a complex neuromuscular

activity and constitute the performing apparatus of the musician.

There will be a question: what are the components of the technology

sound extraction? These are the components of 6 pieces you will have to name.

The most important is the lip apparatus. The question will be: what is a lip

apparatus? All these formulations should be known as our father.

Lip apparatus- this is a system of muscles of the labial and facial, mucous membrane of the lips and

mouth, salivary glands. The combination of these elements is called the lip apparatus. Labial

the device is sometimes called differently embouchure.

The concept of embouchures is used in connection with all wind instruments, but is interpreted

in different ways: some believe that this means the mouth or mouthpiece, others that it

refer to the lip.

According to the Moscow 1966 edition of the encyclopedic musical dictionary

word ear pads - French and has two concepts:

the first way to fold the lips and tongue when playing wind instruments. So

way, you can accurately determine this position, the degree of elasticity of the labial and facial

performer's muscles, their fitness, endurance, strength, flexibility and mobility

when playing it is called an ear pad.

And the second definition in this dictionary is: it's the same as a mouthpiece.

Systematic training for the performer becomes paramount

meaning. The development of the labial apparatus should be carried out in two planes. First

plane: this is the development of the labial muscles, that is, the development of strength, endurance of the labials,

facial muscles. After you have developed the beauty of sound appears, your

peculiar timbre, intonation quality of sound. For this purpose, you need to play on

full breath whole notes for 20-30 minutes.

7. Performing breath. His essence. Meaning. And methods of development

The breathing technique of a performer on wind instruments is, first of all, a technique

sound possession, which includes the whole variety of timbre, dynamics, strokes and

articulation. If the breath is well set by the sound, you can immediately judge that

a person has timbre, dynamics, articulation. The culture of sound implies the presence

certain school of breathing.

If the language plays a decisive role in the origin of sound, then in the conduct of sound

it belongs to the air stream exhaled by the performer into the instrument. Character

of the air jet is corrected, in addition to the muscles of respiration, by the labial muscles, muscles

language. And all of them together are controlled by hearing. Conditionally performing breath

can be compared with a violinist's bow.

Performing breathing is an active means of expression in

wind musician's arsenal.

The professional breathing of a performer on wind instruments is determined in

primarily by conscious and purposeful control of the respiratory muscles

fully working during inhalation and exhalation. Involved in the respiratory mechanism

inspiratory and expiratory muscles. From the skillful use of these antagonist muscles depends

performer's breathing technique.

Inspiratory muscles include: diaphragm and external intercostals.

The expiratory muscles include: abdominals and internal intercostal muscles.

The performer must learn to control active inhalation and exhalation through

development and training of respiratory muscles. Exhale in interaction with lips, tongue,

fingers plays a primary role in the formation of sound, in its conduct and in various

its manifestations in technology.

A well-placed exhalation not only affects the sound quality and versatile

technical capabilities, but also opens up a wide scope for the activities of others

components of the performing apparatus: lips, tongue, fingers. Two phases of breathing (inspiration and

exhalation) can be used in different ways in the performing process.

In the natural physiological respiration of a person, inhalation is an active act during

in which the lungs expand, the ribs rise, and the dome of the diaphragm descends

way down. Exhalation on the contrary is a passive act: the lung cavity, chest and diaphragm

return to their original position. During physiological respiration, the cycle

flows: inhale, exhale, pause. Professional performing breathing is subordinate

consciousness of the performer and involves active inhalation and exhalation. Inhale - short, exhale -

long (long).

Quality exhalation depends on the correct and full inhalation..

The professional breath of the horn should be short, full and silent. He

has a number of specific differences from the usual physiological respiration of a person.

First, it requires maximum use of lung volume (3500-4000

milliliters of air). With physiological respiration, the volume is 500 milliliters.

Secondly, during professional breathing, the load on the respiratory

muscles. It is many times greater than with a calm vital breath.

Thirdly, during normal normal breathing, inhalation and exhalation are approximately equal in

time, i.e. rhythmic breathing.

A person in a calm state makes 16-18 respiratory cycles in one minute.

The oven reduces the number of breaths to 3, 8 per minute. Under natural conditions, man

breathes through the nose. When playing wind instruments mainly by mouth with little

nose help. This ensures the fullness of inspiration and its noiselessness.

Breathing when playing wind instruments should be taken through the corners of the mouth when

slight help of the nose. Inhalation through the mouth allows you to quickly and silently replenish

lungs with air. When inhaling, the external and intercostal muscles of the chest are involved

and diaphragms. Therefore, uniform filling of the lungs with air and expansion in all

directions of the chest depends on the development, strength and activity of these muscles.

As for the diaphragm, this muscle is one of the strongest in our body.

Together with breathing, it makes 18 oscillations per minute, moving at the same time by 4

inches up and 4 inches down. The diaphragm does a great job. How

perfect pressure pump diaphragm throughout its impressive area

descends when inhaling, compressing the internal organs, abdominal circulation.

When inhaling, the lungs should be filled with air from top to bottom, like a vessel with

water in which the liquid from the beginning covers the bottom, and leaning on it fills the vessel to

top. Thus, a so-called air column is formed in the lungs.

at the bottom of the lungs, at its base, that is, at the diaphragm.

There will be a question: what is the difference between human and performing breath?

The breath of a performer on a wind instrument is not rhythmic and the second option

that the breath is stagnant. Operated breathing is the correct set breathing of the horn player.

8. Characteristic disadvantages of staging for beginner musicians

If we imagine the process of learning a musician as a gradually built

building, then the setting will play the role of the foundation. The correct setting serves

the basis on which the development of the performing skills of a musician is based.

The practice of teaching young, aspiring musicians shows what to devote

attention to staging follows from the first steps. Most common in beginners

musicians are shortcomings associated with the wrong position of the instrument,

hands, fingers and head.

For flute players, the most characteristic is the oblique

tool position instead of the necessary straight line, which is a consequence

lowering the right hand. To correct this shortcoming, the teacher must ensure that

so that the student during the game holds a slightly raised elbow of his right hand. In that

case, both hands will be at the same horizontal level and the flute will lie

Beginning oboists often hold the instrument too high, which is partly

associated with them with excessive lowering of the chin to the bottom. Fix this flaw

not difficult - you just need to monitor the correct position of the head and hands, which

should not be lifted too high.

A clarinet player most often shifts the instrument somewhat to the side and more often

to the right than to the left, or give the tool an incorrect vertical position

(they hold it too close to the body) or, on the contrary, lift it up excessively.

Such deviations from the norm (if they are not due to any

individual characteristics of the musician) should not take place because it

leaves a certain imprint on the character of the sound. It is known from practice that

when the clarinet is tilted down, the sound becomes liquid and dull, and when it is raised excessively

up coarser.

For brass players, the incorrect position of the instrument is as follows:

press with the phalanges of the fingers, but you need to press with the pads of the fingers, when playing on

cornet, trumpet hold on to the ring. When playing, you do not need to hold on to the ring. For the ring

are held only when flipping notes, or when you need to insert a mute. Beginners

horn players often hold the bell of the instrument incorrectly: either they lower it too much

down, or vice versa turn strongly up. Trombone players often give

the tool is in the wrong position by keeping the link lowered down.

Setting disadvantages associated with the position of the fingers on the instrument can

be quite different:

Woodwind players very often have their fingers raised high when playing,

retracted unnecessarily to the side, in addition, they do not lie on the instrument in a rounded

bent, but in a purely straight position, which causes their excessive stress.

The incorrect position of the head is manifested in the fact that individual musicians at the moment

games lower their heads down, as a result of which the chin also drops, causing

additional tension of the neck and chin muscles.

Such an inclined position of the head can be found among performers at various

wind instruments, but most often it is found: among trumpeters, oboists,

clarinetists, horn players. Head tilt to the side (to the right) especially often

found among flute players, for whom it has become a tradition and harmful

habit.

With the beginning of learning on the instrument, it is necessary to relentlessly monitor the correctness

staging techniques for the player. At the same time, it is necessary to ensure that the student not only

knew certain methods of rational setting, but also understood the expediency of their

practical application.

It is possible to weaken the control over the setting when the correct setting techniques

turn students into accurately learned and consolidated skills.