Work on the means of musical expression as a necessary condition for the disclosure of the musical image of the work. Open lesson "The role of strokes in revealing the artistic image of a musical work

Tarasova Dina Vyacheslavovna
Job title: teacher
Educational institution: MBU DO "Children's Art School No. 19"
Locality: Astrakhan region, with. Sasykoli
Material name: Methodical development
Subject:"Work on in an artistic way in program piano works"
Publication date: 12.05.2016
Chapter: additional education

Public lesson in piano class

Topic: “Working on an artistic image in software piano

works"

Teacher music department Tarasova D.V.

uch. Kunasheva Amina - 4th grade

Lesson topic:
"Work on the artistic image in piano works".
Target

lesson:
To reveal and express in performance the figurative content of a musical work.
Lesson objectives:
 To form pianistic skills and abilities by integrating figurative impressions;  Work on the expressiveness of the musical language, overcoming performance difficulties.  To develop the ability to perform analysis and synthesis piece of music.  To work on achieving the level of figurative completeness of interpretation.
Lesson type:
traditional.
Type of lesson:
lesson of generalization and systematization of the studied.
References:
1. Collection of Jazz pieces for piano. N. Mordasov. Second edition. Rostov n / a: Phoenix, 2001 2. Patter for piano. 50 exercises for developing finger fluency. T.Simonova. St. Petersburg: "Composer", 2004. 3. Internet resources. 1

During the classes:
This lesson will show the work on the artistic image in the program piano works. The scope of the lesson allows you to demonstrate all the material in a concise, generalized, but systematized way. Amina, today in the lesson we will talk about the artistic image of the work. What is this concept of "artistic image"? - It's a composer's idea. This is what is shown in the music ... these are the author's thoughts, feelings, attitude towards his composition. The artistic image in music is revealed through the means of musical expression. Work on the creation of an artistic image is a complex process. The birth of the artistic image of a work is the disclosure of its characteristic features, his "face". And the image is revealed, as we have already said, with the help of expressive means. Well, today in the lesson we will trace the formation, expression of musical image.
Let's start with the bright, imaginative play "Dance of the Savages".
Before starting work, Amina will play preparatory exercises to warm up her hands and get ready for the lesson. Exercise 6 from the collection "Patters for Piano" For alternating hands, practicing staccato and wide intervals. Exercise 10 is useful for developing coordination of movements, for quick rhythmic alternation of hands. We work out dynamic shades, gradual rise and fall (crescendo and diminuendo) of sonority. The same shades will be found in the play "Dance of the Savages" Exercise 49 is aimed at working out double notes and chords. It is necessary to monitor the simultaneous taking of two and three sounds. The work "Dance of the Savages" was written by famous composer modern Japan, Yoshinao Nakada, about whom few people know about in our country. The basis of his compositional creativity - vocal music, his favorite musical instrument- piano. Nakada gave a lot of strength and energy to piano pedagogy. A number of collections piano pieces for children - 1955, 1977 - He specifically composes for pedagogical purposes. At present, these works are successfully used in the pedagogical repertoire of musical educational institutions. 2
The creative heritage of the composer is great. He wrote piano, chamber and instrumental works, music for radio and television, children's songs. A significant section of Y. Nakada's work is choral and vocal works. The Japanese genre DOYO (doyo) had a special meaning and significance in this activity of the composer. These were songs that anyone could sing. Many of these songs have become an integral part of Japanese culture today. Let's play this piece right away, and then we'll talk. Tell me, please, what artistic image did the author show in his essay?
Answer:
- Music accurately depicts the images of savages, or rather their dance. Let's take a closer look at what means of musical expression are used to achieve the artistic image in our play. First, let's look at the form of the piece. It has 3 parts, and 1 and 3 parts are almost the same. What happens in
1 parts
? What means of expression does the author use? (jerky melody, minor key, but thanks to a large number of random sharps, it sounds major, sharp rhythm, the presence of many accents, diverse dynamics.
2

Part
- climax, dynamics intensifies (FF), the presence of syncopation, quarts, giving sharpness and sharpness to the sound. Rapid tempo, rapid alternation and transfer of hands, elastic, active staccato, clear rhythmic pulsation. Such music is performed with very active, elastic fingers. Our stroke is staccato, elastic, rebounding. The sound is strong and bright.
part 3
- character repeats
1 part
, ending: having danced their dance, the savages are gradually moving away. Here we have examined the means of expression that help to reveal the artistic image. And now you, Amina, play a play and try to convey to us, the listeners, the images that we just talked about. This is such an interesting play. Amina, you are great. It's obvious that you like the play. You play it confidently, brightly, colorfully. At home, be sure to play at different tempos, alternating fast-slow, watch for evenness (play on “ta-ta”)
The next piece is called "Old Motif"
3
Amina, the play is still a little unfinished, so look at the notes. Try to remember and do everything we talked about in class. Nikolai Mordasov - Russian teacher, composer of the 20th century; the author of many children's jazz plays, a theorist by education, the author of jazz arrangements-stylizations and a huge number of compositions, the authorship of which is irretrievably lost: suffering from pathological shyness, the teacher considered his plays a "production necessity" and did not put a signature. Musical educational institutions still use the methodological recommendations of N.V. Mordasov on rhythm, development of creative skills in music-making and functional hearing. And in 1999, Nikolai Vasilievich Mordasov finally published two collections of children's jazz pieces for piano and "four hands" ensemble. Jazz began to write "a lot" only because it was required by pedagogical work. N. Mordasov not only jazz musician, but above all - a teacher, and all his creative developments are updated in pedagogical practice. Amina plays a play
"Old

motive
”from the collection “Jazz Pieces for Piano” by N. Mordasov. . Also included in this collection are interesting plays“A long time ago”, “Blue distance”, “Road home”, “See you tomorrow”, etc. That is, all the plays have names in which the artistic image is hidden.
"Old

motive"
- a bright, interesting play. Let's look at our work, deal with the means of expression to reveal the image. How many parts and who does the author portray in them? (one-part) Let's fantasize. (Summer evening, city park. A familiar old tune sounds somewhere in the distance. An elderly couple sitting on a bench near a pond, looking at the youth, recalls their young years). The tempo is moderate. major scale betrays clarity and luminosity. The chord accompaniment in the left hand is elastic, Accents and syncopations in the melody make it look like a tango (
Ta

ngo
(Spanish)
tango
) - Argentine folk dance; pair dance of free composition, characterized by an energetic and clear rhythm). The dynamics of Mf, which is preserved throughout the whole work, give the sound a certain evenness. 4
The melody consists of short motifs, each of which has different types of accents (performed differently). Many tied notes form syncopations. This requires increased rhythmic attention. In this regard, we will play very expressively, but at the same time - gently. In the right hand - a melody, in the left - an accompaniment. We will play the melodic line in short phrases. The touch to the keys is deep, we cling to every sound. Work on the expressiveness of motives and short phrases: Ask to sing to yourself (interval, move), and then, the same thing, “sing” on the instrument. At home, teach the play as in a lesson. Do exercises to work on the sound. Learn the play. The highest goal of a performing musician is a reliable, convincing embodiment of the composer's intention, i.e. creation of an artistic image of the work. Today you and I have seen that the nature of a musical work, its image is most directly influenced by the means musical expressiveness. At the end of the lesson, I would like to thank Amina for her work, for her attention and responsiveness. I think you imagine, live, musical images and play these works with joy. 5

The purpose of the lesson: Improving the methods of conveying figurative content in the play "Andantino" by A. Khachaturian

Tasks:

• work on the performance of the melody, articulation,
• clarify voice leading, sound balance between melody and accompaniment,
• figure out the dynamic plan,
• work on the transfer of the form of the play,
• to consolidate the skill of competent pedaling.

This lesson is devoted to working on an artistic image in a work small form cantilena character - the play "Andantino" by A. Khachaturian.

The lesson begins with work on scales and exercises. After playing the scale in C minor (the play "Andantino" was written in this key) in direct and opposite movement it is necessary to draw the attention of the student to the exact execution of the fingering. To correct mistakes, it is useful to clarify the fingering when playing with each hand in one, then in two octaves. Play the scale with different rhythmic variations, with different dynamics and strokes. These same techniques can be used to work on chromatic scales, arpeggios, chords, and more.

Scales, exercises are the material for working on technical development student along with etudes, plays of a virtuoso nature. At this lesson, work is underway on the study by K. Czerny (Selected studies, edited by G. Germer, part 1, Etude No. 23). The student is offered a clear pronunciation of the upper sounds in the melody, tenacious fingers when playing staccato. When working on passages, precise fingering is required, the ability to put 1 finger. It is necessary to control the freedom and plasticity of the hand, the active work of the fingers, the precise execution of strokes, rhythm, and pauses.

The main time of the lesson is devoted to working on the artistic image in the play "Andantino" by A. Khachaturian.

From the very beginning of training and in the future, the teacher needs to develop and improve not only the technological skills of owning the instrument of his students. It is important to intensively "immerse" the student in the music being performed, "infect" with it. The work should touch his soul, awaken the imagination. Already from the performance of the first melodies at the beginning of training, it is necessary to achieve from the child that he plays them expressively, with an understanding of character, i.e. sad melody - sad, cheerful - fun, solemn - solemnly, etc.

Work on an artistic image begins with an acquaintance with the play. It is recommended to choose works with interesting figurative content, in which the emotional and poetic principle appears more clearly. If the music captured the student, his emotional condition will positively influence his diligence, contribute to more purposeful persistent work on the sound, tempo, nuances, playing techniques of the performance of this work, so that as a result it sounds bright, meaningful, expressive. It is necessary to tell the student about the author of the play, his work. After listening to the play performed by the teacher, talk about its character, artistic content.

At the stage of parsing the text, it is necessary to choose the most appropriate fingering for a particular student. Rational fingering contributes to a better solution of artistic problems, and its relearning delays the process of studying the work.

"Andantino" is a work with a hidden program, the title only gives a definition of the tempo. The student's imagination is given scope in determining the content of the play. It can be assumed that this is a musical poetic sketch. For example, a student presented such a picture, came up with such an artistic image: a beautiful mountain landscape, autumn, a young girl is standing on the river bank. A sad song sounds, reminiscent of the intonations of Armenian music, like a memory of spring, of past happiness, of a friend who has left. The melody is sad, unhurried, in a minor key. The accompaniment is set out in repeated thirds. The low second step, the use of fifths gives the music oriental flavor. The play is written in 2 parts. In part 2, the melody is repeated an octave higher, which enhances the feeling of sadness. The accompaniment takes on a more agitated character, a seasoned bass and a syncopated accompaniment appear. The final phrase sounds like a sad but calm summary in the middle register, reminiscent of the voice of a cello.

Work on an artistic image is also work on sound production, a variety of performing techniques necessary to convey the nature of a musical work. In the play "Andantino" it is necessary to achieve a good legato, expressiveness, depth of sound of a beautiful melody, similar to human singing. It is necessary to constantly monitor the freedom of the performing apparatus, the ability to immerse the hand in the keys with a weight “from the shoulder”, to control the sound by ear. Work on the evenness and softness of the thirds in the accompaniment in 1 movement, and the hand should not be frozen, it seems to “breathe”. Then over the deep immersion of the left hand in the performance of the bass line and the soft sound of the undertone in 2 parts, performed by 1 finger. Bass and undertone notes must be learned to play on the same movement. The part of the left hand in the piece is quite difficult. It must be brought to automatism so that it does not interfere with the performance of the melody.

It is necessary to determine the form of the play, its structure, division into motifs, phrases, sentences in order to phrase correctly; find out the features of the presentation of the melody, accompaniment, as well as the dynamics (beginning, rise, culmination, decline in each construction). An artistic and dynamic execution plan is drawn up. Having determined the boundaries of phrases, it is necessary to trace the development of the melody, to find intonational peaks. When performing a piece, the student must listen to each phrase, learn to take a breath before the next construction. To achieve greater brightness of the performance, it is useful to come up with and use subtext. The main culmination is revealed, which is located in the 2nd part of the piece in Andantino, a single line of development of the musical material is determined with a sense of not only supporting sounds in phrases, small peaks, but also the main climax of the work. It is necessary to achieve in the performance of the student an increase in emotional tension precisely to the central climax, which leads to the brightness and integrity of the sound of the piece.

In Andantino, a piece of cantilena character, the role of the pedal as a means of color is important. The sound is given not only new colors and a new timbre, but also greater volume and fullness. The pedal helps to reveal the expressive artistic possibilities of the piece more vividly. Right pedal links various sounds into one harmony, helps to combine various elements of texture. It is necessary to carry out detailed work: to find measures where the pedal is used as a binding or colorful means, to carefully consider the moment of taking and taking off, to listen to each measure with the pedal so that its use does not violate the purity of voice leading. It is recommended to put it in the notes. Gotta spend special work to consolidate the skill, so that the foot does not knock on the pedal, does not rise above it, but constantly feels it with a soft touch. When working on the Andantino piece, it is useful to first learn the pedal by hand parts, then both hands together with constant auditory control over the purity of the sound.

Before each play of a piece, the student must remind him of the need to constantly listen to himself, his performance, as if from the outside, try to play not only correctly, but also expressively, emotionally, and also notice shortcomings in order to correct them later.

To achieve success in the work on the embodiment of an artistic image is possible only by continuously developing the student's musicality, his intellect, his emotional responsiveness to music, improving the techniques of sound production. He must be fascinated by the content and images of the piece, then he works more persistently, improves his pianistic technique, striving to more vividly convey the artistic image of the work in his performance.
To work at home, it is necessary to give the task to continue the work begun in the classroom, on the performance of the melody, accompaniment, dynamic shades, the use of the pedal, work on the artistic image of the piece.

References:

1. Neuhaus G. On the art of piano playing. Publishing house "Deka-VS", 2007
2. Lyubomudrova N.A. Piano teaching methodology. M.: Music, 1982.
3. Alekseev A.D. Piano teaching methodology. Third edition - M .: Music, 1978
4. Timakin E.M. The education of a pianist. – M.: Music, 2011.

Lesson type: Lesson to improve knowledge, skills and abilities.

Type of lesson: Lesson with in-depth study of educational material.

The purpose of the lesson: Practical study of the methods of work that are used to create a musical image in S. S. Prokofiev's play "Rain and Rainbow".

Lesson objectives:

• educational: formation and improvement of professional skills necessary for mastering the culture of musical performance;
• developing: development of emotional responsiveness, sensitivity to figurative understanding of the world, development of creative and cognitive activity;
• educating: fostering a steady interest in classes, the formation of an artistic and aesthetic taste.

Lesson structure:

1. Organization of the beginning of the lesson.
2. Lesson motivation. Goal setting.
3. Checking homework.
4. Assimilation of new knowledge.
5. Initial test of understanding.
6. Generalization and systematization of knowledge.
7. Control and self-control of knowledge.
8. Summing up the lesson.
9. Information about homework.

Lesson plan.

1. Organizing time.
2. Message topics, goals and objectives of the lesson. Main part. Mastering in practice the methods of work that are used to create a musical image in the play by S. S. Prokofiev “Rain and Rainbow”.
   2.1 Listening to homework.
   2.2 The concept of “musical image”. Program music.
   2.3 Musical expressive means as the main condition for creating a musical image.
   2.4 Basic methods of working on sound.
3. Summing up the lesson.
4. Homework.
5. View animated film"Walk". Directed by I. Kovalevskaya. Music by S. S. Prokofiev.

Teacher: In the course of the previous lessons, we worked on S. S. Prokofiev’s play “Rain and Rainbow”. We have successfully passed the first stage of work on the work. You, Nastya, were given homework: work on the text, play by heart. Let's hear the results of your homework.

A student performs a play she has been working on at home.

Teacher: Homework is done. The play is memorized. The quality of work can be assessed as good. For independent homework was given creative task: pick up literary work, consonant, in your opinion, with the content and mood that is present in the musical play “Rain and Rainbow”.

Student: Yes, with the help of my mother, I found two poems that, in my opinion, correspond to the mood of the play. Now I will read them.

F. I. Tyutchev Reluctantly and timidly The sun looks down on the fields. Chu, it thundered behind the cloud, The earth frowned. Warm gusts of wind Distant thunder and rain sometimes ... Green fields Greener under a storm. Here it broke through the clouds blue lightning jet, The flame is white and flying Bordered its edges. More often raindrops A whirlwind of dust flies from the fields, And thunder rolls All angry and bold. The sun looked again Frowningly into the fields, And drowned in radiance All the troubled land

I. Bunin There is no sun, but bright ponds They stand as cast mirrors, And bowls of still water It would seem completely empty But gardens are reflected in them. Here is a drop, like a nail head, Fell - and hundreds of needles Backwaters of ponds furrowing, A sparkling downpour jumped, And the garden was noisy from the rain. And the wind, playing with foliage, Mixed young birches, And a ray of sunshine, as if alive, Ignite the trembling sparkles, And the puddles poured blue. There's a rainbow... It's fun to live And it's fun to think about the sky About the sun, about ripening bread And treasure simple happiness: With an open head to roam, Watch how the children scattered In the gazebo, golden sand ... There is no other happiness in the world.

Teacher: You have become acquainted with poetic compositions, and now let's compare the verses with the musical content of the play. What do you feel when you read poetry?

Student: I feel fresh and warm. I close my eyes and imagine the rain that rustles on the leaves. Joy from the appearance of the sun and rainbow.

Teacher:

In a piece of music, just like in a novel, a story, a fairy tale, a picture written by an artist, there is its own content, it reflects the world around us. This happens through the musical images that are created by the composer. A musical image is a complex of musical and expressive means that are used by the composer in a composition and are aimed at evoking in the listener a certain range of associations with the phenomena of reality. The content of the play is revealed through the alternation and interaction between various musical images. A musical image is a way of life of a work.

Depending on the content, a piece of music may contain one or more images.

How many musical images do you think are in the piece we are studying?

Student: Two images, because in the title we hear rain and see a rainbow.

Teacher: Well done! Indeed, the piece contains two musical images, which are embedded in the very title "Rain and Rainbow". Such plays are called program plays. The title, pointing to some phenomenon of reality, which the composer had in mind, can serve as a program. Rain is usually depicted as a steady movement of sixteenths or eighths. In the miniature “Rain and Rainbow” this is not the case.

Student: Yes, I played the play “Summer Rain”. In it, the rain is different from the rain in the play we are learning.

Teacher: Visually tangible musical means reveal pictures of nature in the play “Rain” by V. Kosenko .

Listen, I will play you a play by V. Kosenko “Rain” (teacher's show). Comparing the plays “Rain and Rainbow” and “Rain”, you understand now, Nastya, how the same thing can be depicted in music a natural phenomenon. Now tell me, does the play we are working on have such rain as in V. Kosenko's play “Rain”?

Student: No, the rain is different here.

Teacher: Please play me the beginning of the piece (the student plays the first two lines). Do you hear the difference?

Teacher: Beginners of the piece “raindrops” is, of course, not an exact sound-picture sketch, but there is a feeling summer rain, its freshness, is a poetic musical display of a well-known real picture. In the second section of the piece, the composer draws a rainbow. At the end we hear the rain that falls under the sun, mushroom rain.

Teacher: Let's repeat the first section (the student is playing). Pay attention to the fact that next to the intonations that draw the rain, we hear the intonations of the rainbow. In the solfeggio lessons, you already got acquainted with the concept of alteration.

Student: Yes, this is an increase or decrease in tone. Sharps and flats.

Teacher: Well done, you have mastered this material well, but let's pay attention to consonances with many signs, altered consonances. Please play these chords (the student is playing) Try to play them using the weight of your hand, resting on the keyboard. “The position of the fingers should be slightly extended, the fingertip is in contact with the key”, - E. Lieberman. Try to hear how these chords create emotional tension. Please play me this section of the piece, paying attention to my recommendations (the student is playing)

Teacher: And now let's try to evaluate how convincingly you managed to convey the image we were talking about.

Teacher: You told me that the second section is a rainbow. Indeed, this is a miracle of a multi-colored rainbow. It appears as a descending C major scale, bringing enlightenment and calmness.

Teacher: I prepared two artistic illustrations of the natural phenomenon of the rainbow for the lesson: B. Kuznetsov “Rainbow. Jasmine”, N. Dubovskoy “Rainbow”. Let's look closely and feel each of them. Color, horizon, air, mood, without which the performance of the play would be impossible. Like an arc of a rainbow covering the sky, a widely spreading, typically Prokofiev melody appears in the piece. G. Neuhaus said that "the sound perspective is as real in music for the ear as in painting for the eye." In the future, altered consonances are again heard, but they do not sound as intense as before. Gradually, the color of the music brightens more and more. Color is a combination of colors. The coloristic play “Rain and Rainbow” reflected Prokofiev's childishly enthusiastic attitude to nature.

According to contemporaries, Prokofiev was an outstanding pianist, his playing style was free and bright, and despite the innovative style of his music, his playing was incredibly tender.

Let's remember the topic of the lesson. Tell me, please, musical and expressive means that help to reveal the image.

Student: Harmony and melody.

Teacher: Let's pay attention to harmony again. Harmony is chords and their progression. Harmony is a polyphonic musical color that chords create. . Please play the first part of the play (the student is playing).

Teacher's comment: During the performance, the teacher draws attention to the expressive possibilities of harmony, the need to listen to individual harmonies and their combinations, the need to strive to understand their expressive meaning. The role of harmony in creating a state of instability (dissonant harmonies) and peace (their bright resolutions) is clear. Dissonant harmonies can sound softer or sharper, but in this case, the student and I achieve a less harsh sound.

Diagnostics.

Teacher: We have just talked about the meaning and possibility of harmony as one of the musical means of expression. Please tell me how you understood the meaning of the word harmony.

Student: Harmony is chords and their sequence.

Teacher: In the words of the great Russian pianist and teacher G. Neuhaus: "Music is the art of sound."

Sound expressiveness is the most important performing means for the realization of musical and artistic design. Please play the middle part of the piece (the student is playing the middle part of the piece).

Teacher's comment: Prokofiev's melody is the widest register range. A transparent, sonorous sound implies clarity of attack and accuracy of completion of each tone. The coloring of the sound suggests the finest watercolor sound painting. The return to illustrations and work on the second part is dictated by the need to work on sound extraction techniques. Sound expressiveness is the most important performing means for the realization of musical and artistic design. The work uses practical techniques and methods that help to develop melodic ear and, accordingly, the colorfulness of the sound of the student.

Melodic ear is the representation and hearing of the melody as a whole and each of its notes, each interval separately. It is necessary to hear a melody not only in pitch, but also expressively, dynamically and rhythmically. Working on melodic ear is working on intonation. Intonation gives volume to music, makes it alive, gives it color. Melodic ear is intensively formed in the process of emotional experience of the melody and then the reproduction of what was heard. The deeper the experience of the melody, the more flexible and expressive its drawing will be.

Working methods:

1. Playing a melodic pattern on an instrument separately from accompaniment.
2. Reproduction of a melody with accompaniment by a student and a teacher.
3. Performance on the piano separately of the accompaniment part with singing the melody “to oneself”.
4. The most detailed work on the phrasing of a piece of music.

Teacher: An important component in working on a melody is working on a phrase. Demonstration by the teacher of two versions of the performance of the episode in order to develop the ability to hear and select the necessary sound to create the right musical image. (Teacher performs) The student actively listens and makes the right choice. This method of work activates the perception of the student and helps to create an image to strive for.

When working on phrasing, which is one of the means of expressing the artistic image of a musical work, the student and I discussed the structure of phrases, intonation peaks and culmination points, paid attention to breathing in a musical phrase, and determined the moments of breathing. “Living breath plays a leading role in music”, - A. Goldenweiser.

Teacher: Now, let's remember what cantilena is?

Student: Cantilena is a melodious wide melody.

Teacher: Please play a long melodic line that starts the middle of the piece. The student is playing.

2nd grade student

Reshetnikova Alina

Prepared and conducted the lesson

piano teacher

MBOUDOD "DMSh No. 49"

P. Trudarmeisky,

Prokopevsky municipal area

Volkova Galina Fedorovna

Subject: "Work on the artistic image of a musical work"

Target : "To form various skills for the figurative performance of musical works"

Tasks: obuhopeful : to teach the ability to play various pieces of music musically, emotionally, with auditory control.Show practical use methods of working on musical works and their fragments.

Developing: introduce interesting facts from the biography of composers whose works are performed by the student.

Nurturing: instill interest in classical music and studied music. works.

Lesson type : Integrated

Methods: Verbal (explanation, reasoning).

Control methods.

Practical.

display method.

Lesson steps:

1. Organizational

2.Practical

3.Final

Characteristics of a student: Alina is a student with good musical abilities: good hearing, rhythm, memory. It is efficient at home and at the lesson. The performing apparatus is somewhat constrained, the hands are clamped. The sound is more often heard on the piano. With difficulty we achieve active and juicysound. It is necessary to work on the emancipation of the performing apparatus, the depth of sound. He responds to all the comments of the teacher both at the lesson and at home.

Plesson plan:

I. Gamma in C major in divergent arpeggio movement, 4 octave chords

2. Work on Etude No. 17 Czerny.

3. Diabelli. Sonatina.

Albinoni Adagio

homework.

At the beginning of the lesson, we play the scale in C major. Once again we play the scale with separate hands with separate hands, refining the fingering. Next comes work on chords and arpeggios with separate hands. We remember that we play the arpeggio "as if drawing loops" with each hand. When working on chords, we achieve a smooth removal of the hand and transfer to the next chord from above (remember the “Rainbow” exercise).

2. After working on the scale, we proceed to play by heart Etude No. 17 of Czerny (ed. by Germer).

Before learning this etude, a conversation was held that “in the knowledge of the laws of singing, Czerny saw the necessary prerequisite for achieving meaningful plastic phrasing on the piano, expressive pronunciation of musical thought, cantabile sound, soft, melodious legato.”

During the game, we pay attention to strong and weak beats, then there will be accurate, plastic phrasing and precise dynamic shades, plus convenient, free performance. It should be noted that it is important to correctly master the movement of the hands in all pauses, i.e. the hand can only play once during the pause, and when it goes down it should already be playing.

Show and work with a student on a fragment. If we approach this study from the point of view of artwork, then I think that a comparison with a sea wave (ascending and descending passages) is quite acceptable here. In working on chords, harmonic ear develops well. Here it is necessary to analyze the tonal plan of the chord, listen to the harmonic basis, and then play the melody with harmonic accompaniment.

3. Analysis of Sonatina 1h.G- durDiabelli

The student shows home analysis of the work. After that, remember again biographical facts from the life of Antonio Diabelli (1781 - 1858). Born in Austria. As a child, he sang in the chapel choir of the Salzburg Cathedral. He taught guitar and piano. His sonatinas are very beautiful and inspired in sound.

Sonatina(sonata without development) -varietysonata form , Vwhich is not developed, and which is used in typicalForsonata-form conditions (for example, in the first movementscycle) In the absence of the most important section for the sonata form - development, the sonatina nevertheless retains its belonging to this form. It has a traditional sonata theme (active mainthe consignmentand melodious side) and active motivated work, at leastonexposure level.

When learning, it is useful to solfegge the melody with your voice, then play the melody, determining the movement of the melody to the upper sound on the crescendo and its downward movement on the diminuendo, i.e. beginning and end of a sentence

technical difficulty for the student is a delicate performance in the left hand of "albertian basses". We analyze what Alberti basses are:

Albertian basses(Andtal.Basso albertino ) - presentation of the pariah of the left hand in

forteniaplaynamed afterItalian composer DomenicoAlbertand who created this technique. Albertian basses are a form of rithmicallyevenly spacedchords. Alberti used this technique in his works, but it was used even before him, when it did not bear his name. Albertian basses are often found in the works of IoHanna Pachelbspruce. Joseph Haydn, Amadeus Mozartby Ludwig van Beethoven

3. Albinoni "Adagio"g- mall.

At the beginning of learning the work, the following work was carried out to study the biography of the composer and the history of the creation of the work.ALBINONI Tomaso(1 671-1750) - Italian composer, violinist, representative Venetian school. In his symphonies and concertos for5 tools are anticipated by somestylisticpeculiarities classical symphony. Author from above50 opera.

Tomaso learned to play the violin and vocals as a child, and this became a goodbasisfor his musical activities.He possessed an amazing melodic gift, whichusednot only when composing operas, but also for instrumental works, which created a great many. Lyrical warmth of instrumental melodies. the enchanting beautiful slow movements of his concertos are the result of Albinoni's vast experience in the operatic genre. Albinoni was one of the first Italian composers, whichprintedin music publishing houses in London, Paris, Amsterdam.At present, much is being written about the healing, pacifying effect of the music of the masters of the Baroque era. The most suitable examples of this are Albinoni and Bach. The history of the creation of the work is very interesting. History claims that the score was found during World War II in the ruins of the Saxon state library in the city of Dresden.

In 1958, the famous Adagio was published thanks to the efforts of Tomas Albinoni's first biographer, Remo Giazotto, who claimed to have reconstructed a tiny piece found in 1945. From that moment began the triumphal procession of the play in the world musical culture. Created

many transcriptions and arrangements that are performed as solo in concerts. as well as background music.

RusWithwe sang to and th text of the verses while playing the melody, which helps to better understand the phrasing and movement of the melody:

ADAGIO ALBINONI "Song of Awakening"

The morning of the Earth will come to us,
The sun breaks through the windows
Herald of early Spring,
A guest of a magical land!
We will keep his Light
Like the awakened from the sleep of the Earth Dawn

Also in the lesson, we analyze the type of polyphony inherent in this work - an under-voice type, in which among the voices one voice (upper) leads the main melody, and the rest help it, either merging or echoing it, forming under-voices. In another episode - contrasting polyphony, where the voice "answer" appears in the bass part. This performance can be compared to singing 4 voices in a choir.

drawingartistic image pay attention to reproductions of paintingsartistsRenaissance - Leonardo da Vinci "La Gioconda", Raphael "SikstinskayaMadonna".

According to the author, the work should sound very restrained, calm, the upper voice should sound melodious, the basses of the left handreminiscent of the sound of an organ,slow andheavy steps that sounded solid and did not drown out the main melody. Shoulddrawattention to the roll call of votes vertically.

We play the work with the implementation of all instructions, achieving results.

Homework. Work on all the pieces the way they worked in the lesson, carefully monitor the sound, dynamic shades., Strokes and fingering.

Subject: "Musical performance. Work on the disclosure of the artistic image in the works.

year 2012

Musical performance. Work on the disclosure of the artistic image in the works.

(methodological report for teachers of children's music schools and children's art schools)

"What is it to play

musical composition?

play music - know

that she is not life,

but don't show it?

The development of an artistic image in a student when playing musical works is one of the most important tasks for a teacher-musician. Returning again and again to the studied works, we make our feelings sound in a new way, find new images and emotional heights. Due to a good knowledge of the text, one can completely surrender to the power of musical and imaginative thinking, the expression of one's imagination, temperament, character, in other words - all personal integrity.

The artistic image has a way out of the structure music text, but into the personal sphere of the performer, when the person himself becomes, as it were, a continuation of a musical work.

When it comes to lofty motives turning to music, then the emotional and aesthetic activity of the performer is evident. This is musical-figurative thinking. Here musical content appears as emotions, feelings and moods. S.E. Feinberg said: “It is wrong to reduce the content of a musical work only to emotions, because in musical thinking there are also logical elements. Both are true. When working on the artistic image of works, we should talk about emotional logic. The task of the teacher is to be able to direct the student's thoughts in the right direction of reasoning, to help understand the content of the work. The teacher almost always knows how to determine the level of emotional responsiveness of his student. If it is not sufficient to embody the artistic image, then it is necessary to look for ways to awaken it in him.

It happens that a student is emotional, but he does not understand, does not feel this particular music. How difficult it is sometimes to display tranquility in all depth in music, how difficult it is to display joy. Most often, “pressure” succeeds and it back side- lethargy and indifference. It often happens that a student has a complete absence of any semblance of mood. The teacher “glues” all the “mood” with careful work, and during public speaking they quickly "fly off" exposing the essence of the student. How to help the student in overcoming low emotionality? Explaining to the student what to do, one must immediately show how it is done again and again, and again return to the action, a certain movement.

It often happens when by showing the movement and of course by playing it yourself, you can “wake up” the student. The teacher requires maximum endurance and patience in order to achieve a meaningful action from the student. After all, the student should not turn into a "puppet". Each of his movements should be filled with feeling, as well as the realization that he himself wants this.

The imaginative thinking of a student is a new formation of his consciousness, which implies a fundamentally new attitude towards musical game. The musical image of the performer - the artist - is that generalized "picture" of his imagination, which "leads" direct performance through its universal components.

It can be said about the musical performance image that its tension, brightness, depth and distinctness are different in different “sections” of the piece played by the musician.

The musical image is a generalized and concentrated whole. It is not equal to the length of a piece of music. The brightest musical associations appear in fragments, in some parts of the work.

Both in composition and in performance, the decisive link is intuition. Of course, technique and reason are extremely essential. The more subtle spiritual experiences the performer must reveal, the more responsive and developed his technical apparatus must be. But the fingers will be silent if the soul is silent. Reason is needed to thoroughly identify every facet of the work. However, ultimately the main role belongs to intuition, which determines the condition in creativity - musical feeling, musical flair.

When working on the artistic image of a musical work, the main task of the teacher is to develop a number of student abilities that contribute to his "enthusiasm" when playing. These include creativity and creative attention. Upbringing creative imagination aims to develop its clarity, flexibility, initiative. The ability to clearly, vividly imagine an artistic image is characteristic not only for performers, but also for writers, composers, and artists.

An artist, an actor receives material for his creative work from everyday life, and the musician everyday life does not usually give ready musical material for imagination. He needs constant acquisition of special experience, he must be able to hear and make selection. Therefore, a necessary condition for cultivating the creative imagination of a musician is sufficient high level auditory culture.

The following methods are used to form hearing:

Selection of a melody by ear (selection must be done from the first days of training. It is necessary to find out if the children hear the path of the melody. You can show the student the direction of the melody with the help of a hand movement and invite the student to do the same);

Reading a musical part (the teacher performs the work, and the student follows the notes);

Execution of the learned piece without looking at the fretboard or keyboard (this method helps to activate the inner ear and the organs of touch, which are the centers of creativity);

Viewing an excerpt and playing it without looking at the sheet music. (in the process of such work, inner hearing and memory develop);

Parsing with fingers without playing (such parsing contributes to listening to details that may not be noticed when working with the instrument).

Watching a student play, we often hear such shortcomings as not listening to long sounds, inability to distinguish main voice and soften others, not being able to choose the right tempo, make phrasing, lead an emotionally correct dynamic line. This is especially often observed when playing the cantilena.

The most valuable quality of any instrument is sonority, its “voice”. Therefore, intuition, technique and reason are very important. The more subtle spiritual experiences the performer must reveal, the more responsive and developed his playing apparatus must be. The process of listening to music is very important. It should be specified by certain tasks - listen to the rhythmic pattern, melodic moves, melismas, change of strokes, sound extraction techniques, silence, stops, pauses. And even pauses must be listened to, this is also music, and listening to music does not stop even for a minute!

The student must train attention. Very useful to play with eyes closed. This helps focus the ear. Game quality analysis will be sharper. All existing "errors" will be heard better, because with such training, auditory perception is aggravated.

It is possible to captivate a student to play a melody, to inflate his flame of responsiveness by means of comparisons and comparisons. Music can suggest visual impressions to the imagination. You can also use verbal texting, both for small children's plays and for extended large forms. It is necessary to instill in the student a love for creativity. V.A. Sukhomlinsky wrote: “Squeezing ready-made truths into the children’s heads, the teacher does not give the child the opportunity to even get close to the source of thought and the living word, binds the wings of dreams, fantasy, creativity ...”

All methods of comparison and juxtaposition are very important when working on an artistic image in a work, but it is also necessary to refer to the performer's playing apparatus. By changing the position of the brush on the strings, it is possible to give a different color to each part of the piece. The ability to diversify the sound of voices in timbre contributes to the creation of a musical perspective. One of the important stages of the game is the work of the fingers - their sensuality, support, pressure, articulation. Work on slot machine, is one of the most important and the most difficult tasks performer.

When analyzing a piece of music, the main thing is to immerse the child’s consciousness in the atmosphere, the era in which the piece of music was written, to analyze its structure in detail, to make tonal plan to define the climax. Determine by what means of expression and technique will be shown main topic, development. For a quality game, you need to study the work "from the inside". Analysis takes a significant place in the work on the work. It is necessary to understand everything, because to understand is to take the first step towards falling in love. The perception of music is inseparable from the form. Hot emotional responsiveness to music is not only not in conflict, but on the contrary, gets ground through clever logical analysis. Far-fetchedness extinguishes the creative flame, deliberation - excites emotional creative forces. There can be no particular schema in analysis. Each work has unique features that give it individuality and charm. Finding them and presenting them is the task of the teacher. Proper use by the student of methods and techniques is the key to a professional and emotional game. The task of the teacher is to help reveal the work, direct it in the “right direction”, but at the same time give him the opportunity to present the content of the work himself, to find out his thoughts and desires. The teacher must always strive to awaken the feelings and desire for musical performance in students, thereby enriching them spiritual world, develop emotionality and responsiveness.