Response plan

I. Conventional division of work into several stages, their interrelation and partial interpenetration.

II. Stage 1 – familiarization with the work and its analysis. Introduction to the content, editor's choice. Parsing. Play by heart.

III. Stage 2 – detailed work on the work. Sound. Phrasing. Dynamics. Agogy. Fingering. Pedaling. Technical difficulties.

Stage IV.3 – “assembling” all the parts into a single whole. Climax. Thinking in big chunks. Finding the final tempo. Working on a form: features of working on a large form.

V. The final stage is performance on stage.

I. Conventional division of work into several stages, their interrelation and partial interpenetration.

Work on piece of music largely depends on the work itself, the complexity of its content, and the actual pianistic difficulties. Studying a piece of music is a holistic process, but it can be divided into certain milestones or divided into 3 stages:

1. Familiarization with the work and its analysis.

2. Detailed work on the work.

3. “Collecting” all sections into a single whole.

It should be borne in mind that this division into stages, although correct, is very conditional, since one stage, firstly, smoothly and often imperceptibly passes into another; secondly, very often there is a return to work already done (for example, playing the notes, as if anew, of a text already memorized, or returning to a slower tempo, which is possible in the process of learning a piece repeatedly).

The goal of working on a piece of music is a bright, meaningful, technically perfect performance, which reveals the most essential features artistic image works. It must be remembered that lifeless playing, not warmed by the warmth of the performer’s feelings, does not captivate the listener.

II. Stage 1 – familiarization with the work and its analysis. Introduction to the content, editor's choice. Parsing. Play by heart.

The world of musical images is extremely vast. Each work of art has its own range of images - from the simplest to those striking in their depth and significance. Whatever the student plays, be it “Children’s Album” by Tchaikovsky or a sonatina by Mozart, a piece by Khachaturian or Bartok, he needs to understand this work and accurately determine its content. It is very important that the work captivates both the student and the teacher to the same extent. The teacher must be passionate first of all, otherwise he will not be able to help the student understand and reveal its content. Hence, great importance has a process of familiarizing the student with the work, during which the teacher must try to reveal the musical and artistic essence of the work. This is especially important in classes with students junior classes. Sometimes a title or epigraph helps the student’s perception, but not always. Music doesn't give visible images, does not speak in words and concepts, she speaks only in sounds, but speaks as clearly and understandably as words and visible images speak.

For a deeper understanding and comprehension of the composition, the teacher introduces the student to some facts from the composer’s life, characterizes the era as a whole, and draws parallels with his other works (symphonic, instrumental). In the process of work, it is possible, in addition to the pedagogical demonstration, to listen to recordings and even various recordings of the subject being studied, and even better, other works of this composer. It should always be taken into account that the recording should not be an example to follow.

It is important to delve into the features of style, melody, modal features, the national side of music, form, texture, and so on. It is important to understand whether the student is dealing with the editors or original text and, if necessary, also contact other editors to select the most suitable one.

In this process, the student’s own performing concept gradually matures.

2. Parsing skills.

There are two types of performing the notes of an unfamiliar piece - analysis and sight reading. Analysis is a slow playback of the text, allowing stops for a more thorough study of the text. Sight playing is the performance of an unfamiliar piece at a tempo and character close to the required one, not allowing even fragmentary preliminary playing.

The skills of parsing and sight reading are instilled in the student from the first years of education; this work should be the focus of the teacher’s attention.

During analysis, the entire fabric is examined as if under a microscope; not a single fingering indication or stroke is missed. The student should be taught to first analyze small completed constructions, achieving accuracy in reading the text. In the lower grades, analysis with separate hands is required. At older ages, this often becomes unnecessary. The exception is the analysis and performance of polyphonic music, which at any stage of study requires playing by voices and individual structural elements.

It is necessary to teach the student to treat the text meaningfully, to look through it with his eyes before playing, trying to hear it completely with his inner ear. musical content musical text.

During analysis there are often errors in rhythm, false notes and insufficient attention to fingering. These shortcomings need to be eliminated.

3. Play by heart.

Playing by heart is natural and convenient for the student, but he should be warned against memorizing illiterate text. The more difficult it is for a student to parse correctly, the more careful one should be with learning by heart. It is necessary to understand the logic in the sequence of sections of the work, the structure of this or that section, imagine its harmonic plan, figuration pattern, etc. characteristics. Mechanical, thoughtless learning is associated with motor memory, which can fail on stage, so you must always learn consciously.

A good test of competent memory performance is to perform the piece at a slow tempo. “If you tell a person, when he is playing by heart, “play slower and this will make it more difficult for him,” then this is the first sign that he does not actually know by heart, does not know the music he is playing, but simply rattled it out with his hands. This chattering is the greatest danger that must be fought constantly!” - one cannot but agree with these words of A. B. Goldenweiser.

III. Stage 2 – detailed work on the work. Sound. Phrasing. Dynamics. Agogy. Fingering. Pedaling. Technical difficulties.

Conscious work on a work presupposes a well-developed auditory representation, i.e., clear hearing with the help of inner hearing of the specific goal that the student strives for in this moment. Correct, deep understanding of the text gives rise to precise, rational movements of the pianistic apparatus.

At this stage, the teacher’s demonstration, supported by explanations, is very important.

1.Sound of the instrument

One of the most important issues The second stage of working on a piece is the sound of the instrument. It is necessary to instill in the student a love for natural, full, soft, rich sound. This must be achieved through demonstration; the student must be able to feel the keys. If a student does not have a complete sound, it is the teacher’s fault.

There are almost no cases when a student would not need to learn a piece or some part of it at a slow tempo and expressively in order to hear the length of the sound. K. Igumnov said: “... work slowly and expressively in order to hear the length of the sound, so that the sound “flows.” The skills for such work need to be developed. Fast, easy-sounding episodes are first taught with denser fingers, more fully sonorous.

In parallel with this work, you need to look for the sound of the main melodic line. The student must, first of all, master the ability to “listen forward,” that is, purposefully lead a melody by ear.

Mastering the variety and colorfulness of sound is very important. To learn this, a child must first of all have sound knowledge and listen to a lot of music; The student’s independence in these matters should be encouraged in every possible way. The repertoire that a child plays should be one that encourages colorful reproduction.

2.Phrasing

Great importance in working on a piece should be given to phrasing, breathing, caesuras, consciously expressive and melodious playing of each melody.

“In every musical phrase there is a point that constitutes the logical center of the phrase,” believed K. Igumnov. “Intonation points are like special points of gravity on which everything is built. They are closely related to the harmonic basis."

Music school students often have to be reminded that the line of a musical phrase must also be drawn when non legato. Starting from the very simple works the student needs to explain the role of breathing and the caesuras that reveal it, and an understanding of the meaning of musical “punctuation marks.”

It is necessary for the student to master the skill of playing a melody in any texture: both when playing chords and when playing polyphony.

3.Dynamics.

It requires, like all other details of the work, a conscious approach and learning. It is important to explain to the student that at the beginning of the indication for crescendo you need to play quietly and, on the contrary, the beginning of diminuendo does not mean sharp piano.

The student needs to master various types forte and piano. The scale of dynamic gradations is essentially infinite. Its richness depends on the subtlety of perception and skill of the performer.

4.Agogics - a sense of rhythm, meter.

When working on a piece of music, the teacher and student must take into account that there are two concepts - the living rhythm of music and musical meter. The teacher must instill in the student a correct sense of both meter and living rhythm. On the one hand, the game requires temporal accuracy, on the other, the expressive meaning of the work makes its own demands. It is necessary to cultivate in the student the ability to sense that time line that cannot be crossed. In addition, each era and each style quite accurately determines the boundaries of permitted agogic deviations; the teacher must teach the student a correct sense of the degree of this permissibility.

Rhythmic freedom is the use of acceleration, deceleration, elusive delays that emphasize harmonious beauty.

5.A fingering

It is necessary to instill in the student a clear understanding that fingering does not tolerate inattention and working on its selection is the most important stage in learning a piece. It is especially important to learn those fingers that are marked by the author. Since this will certainly emphasize stylistic features and is often the key to correct phrasing, and therefore more accurate insight into the author’s intention.

The choice of convenient and correct fingering is of particular importance in the playing of virtuoso passages, when automation of movements is necessary.

6.Pedalization.

From the very beginning, it is necessary to instill in the student a sharply negative attitude towards the “dirty” pedal, and, on the contrary, to encourage him to listen with pleasure to the pedal sound of a deep clean bass or a wide-spaced chord. The student must know that the pedal is controlled only by the ear. Each student who begins to play with a pedal must be explained why it is needed in this particular case: whether it is necessary to attach the bass to the main harmony and hear the overall sound, whether to connect several chords or melody sounds far apart from each other; whether it is necessary to emphasize the final chords of the piece with the help of a pedal.

7.Technical mastery of the work includes two groups of tasks:

1. difficulties not related to quick execution;

2. work on virtuosity.

In technical work, the main thing is to find convenient pianistic movements, their reasonable economy, simplicity, naturalness and purposefulness of pianistic techniques. The main work is carried out at a slow pace, the transition to a fast pace is associated with solid learning and the ability to think quickly and hear all the learned tissue with the inner ear.

IN fast pace Automation of movement and fast motor orientation on the keyboard are required. Here, thoughtful fingering and understanding of the small positions that make up the entire musical fabric are required.

All techniques should merge with the music, there should be no formalism in fulfilling the will of the author. Work at this stage should be characterized by particular care, perseverance of both teacher and student in achieving the best result. The reason for failure to work on any difficulty may be due to insufficient training.

Stage IV.3 – “assembling” all the parts into a single whole. Climax. Thinking in big chunks. Finding the final tempo. Working on a form: features of working on a large form.

Developing the ability to grasp the entire work as a whole and perform it holistically is a very important section of training. A gifted student who has a good “sense of form” and is sufficiently prepared can do a lot in this direction himself, but he also needs the guidance of an experienced teacher. In this case, the teacher is required to provide specific instructions, demonstrations on the piano, and systematic attention to this side of the student’s work.

1. One of the most important prerequisites for the integrity of performance is the feeling common line development of the work. Just as the melody in any phrase goes to its supporting sound, and large constructions to their semantic peak, the development of the work itself is also purposeful. The student must know and feel this. The larger the work, the more difficult it is to feel the integrity of its development. The role of the center of the work is played by climax. If there are a number of climaxes in a work, then you need to find their ratio in importance.

“The listener gets tired when he hears a pianist whose episodes are all equally high-pitched and tense,” says K. Igumnov, “this contributes to the fact that the climaxes cease to act as climaxes, but only torment with their monotony. The culmination is only good when it is in its place, when it is the last wave, the ninth wave, prepared by all previous development.”

2. Thinking in short segments (units, details) makes the performance smaller, but the student needs to think big in music, be able to combine large sequences. Some of the obstacles to achieving integrity is the exaggerated role given to details. This happens in cases where careful work on expressiveness becomes an end in itself. It is clear that, despite all its necessity, this work should not come at the expense of embracing the whole.

3. At this stage of studying the work, the final tempo for of this student. The main thing is to find the tempo at which he can reproduce all the subtleties. In large-scale form, the tempo must be sought based on one, well-sounding episode. In any case, the transition to a fast (final) tempo means a rapid movement of thought, which means that the program should be perfectly memorized by this moment.

4. Proper integral performance cannot be achieved without understanding its form. The form, in turn, is inseparable from the content of the work.

3-part form

Already in the middle classes of children's music schools, students often encounter plays written in a simple three-part form. In this regard, we have to talk about the mood and character of part 1, the contrasting (or not) middle and the return of the music of the beginning. The teacher must direct the student’s perception in such a way that the reprise is not just a repetition for him, but is a continuation of development.

When working on a three-part form, it is necessary to feel the boundaries between the sections, identify and feel their meaning. But one must be wary of the other extreme - exaggerating the significance of one of the sections of the work.

Variations

When working on variations, it is very important to convey to the listener the character and meaning of the theme. Then it is necessary to identify the inherent appearance of each variation, but at the same time one must remember that a single variation is not an independent work, but is only part of a cycle. The culmination, as a rule, is the last variation, as if summarizing the entire work.

Rondo

It is most difficult to feel the integrity of development in the form of a rondo. Frequency of repetition can make the performance monotonous and static.

Concert

When working with a student on a concert, a teacher may be faced with the fact that the student sees a desirable relaxation in the orchestral tutti. It is necessary to listen to the whole, although distributed between parts.

V. The final stage is performance on stage.

The last, final stage of working on a piece of music is very important - its bright, artistic performance on stage.

The program is ready when the student feels freedom and wants to go on stage. It is better for this to happen 2 weeks before the performance, the rest of the time should be left for improvement, improving what has already been learned.

Public speaking, especially successful ones, makes a child successful. The teacher cannot guarantee good result on stage, but he must do everything for this. Students are different - with an innate bright individuality and, on the contrary, closed, “dull”. Innate performing brightness is a sign of artistic talent and it is not characteristic of everyone. The emotional beginning in the student must be developed and developed in lessons so that on stage the work does not sound pale and gray. Students who are “not bright” should be given bright music, so that in it they can somehow unfold themselves, reveal themselves. You need to give what you like, what will inevitably evoke emotions.

A very good technique is to play it out before the performance of the entire program. Another technique is to record the student on a video camera with further listening and analysis. It is quite possible to record repeatedly so that the student can see progress, which will ultimately increase his confidence in his abilities.

main reason failures - stage anxiety. We must strive to overcome it so that a bad psychological aster does not appear.

IV.Independent music-making by students, public performance of independently learned works

Independent music-making by a student is the most important form of work, which, firstly, allows the teacher to objectively assess the degree of knowledge and skills accumulated by the student, and secondly, increases the student’s independence and, often, motivation for classes and self-development. The teacher must encourage the student’s independence in every possible way, create favorable conditions for this, in particular, provide the opportunity for public performance of independently learned works (this can be thematic class concerts, various intra-school events, or tests for independent work included in the educational institution’s plan).

The process of independently learning and performing a piece brings particular benefit to a student’s development when the student is given a certain freedom in choosing a repertoire for this type of music playing.

Application.

PERFORMANCE AND METHODOLOGICAL ANALYSIS OF AN ESSAY

Rough plan(option one)

II. The means by which the composer creates these musical images (stylistics of the composition; genre characteristics, rhythmic and tempo features; structure of the melody; tonal plan, harmonic and modal features, form of the composition, features of development, climax zones).

III. Expressive means, with the help of which the performer realizes the composer’s plan on the instrument (intonation and phrasing of the melody; dynamic composition plan, agogic features, articulatory moments, pedaling features, etc.).

Plan - analysis of the performing and pedagogical features of a musical work (second option)

1. Characteristics of the composition style, features of the author’s creativity, the main musical image of the composition.

2. Genre features essays, meter analysis, tempo characteristics.

3. Analysis of the form (sections, parts).

4 . Analysis of texture and its features.

5. Tonal plan of the piece, characteristic modulations.

6. Features of the melody, the nature of intonation, construction of motives and phrases.

7. Features of articulation, touch.

8. Rhythmic and metrical difficulties.

9. Harmonic and modal features.

10. The nature of the dynamics at climactic points, cadences, the nature of the overall sonority.

11. Features of agogics, movement, caesuras, pauses.

12. Analysis and placement of a possible pedal.

13. Pianistic features: coordination, fingering features;

14. The purpose and role of the play in the student’s repertoire; level of difficulty in the repertoire of children's music schools.

Vakhrusheva Irina Vladislavovna
Job title: piano teacher
Educational institution: MAUDO "Ezhvin Music School"
Locality: Syktyvkar
Name of material: Methodical development
Subject:"Work on a small-form play in the junior classes of children's music schools"
Publication date: 26.02.2017
Chapter: additional education

MAUDO "Ezhvin Children's Music School"

in junior classes of children's music school"

Compiled by:

piano teacher

Vakhrusheva I.V.

Syktyvkar

Explanatory note……………………………………………………….. 3

Work on small-form plays in the junior classes of children's music schools………… 4

Methods and techniques for working on plays by m.f. in ml. children's music school classes...... 5

Problems when working on a play…………………………………………………….. 6

Conclusion……………………………………………………………………. 12

List of references……………………………………………………… 13

Explanatory note

Relevance

students

small form.

Work on small-form plays occupies a special place in musical

performance development of students in the piano department of the Children's Music School. Purpose

training at Children's Music School is the preparation of amateur musicians with

skills

musical

creativity,

on one's own

disassemble and learn a piece of any genre, be fluent in the instrument,

choose any melody and accompaniment. You can learn to play music

small

musical

teacher

high

professionalism,

creative

teaching a child love and respect for him.

The purpose of this methodological

messages: - development and improvement

skills of working on small-form pieces in the process of learning to play

piano. Expanding the musical horizons of children, shaping their

artistic taste. Education of music lovers and music lovers

Preparation

most

gifted

students

continuation

professional music education.

basic

intelligence

main

related

unlearning

students

aesthetic

moral

upbringing

students

studying

samples

world musical culture based on conscious perception of music.

Development

musical

abilities, abilities

acquisition

about the main

performing

piano,

execution

more

number of works of different genres and styles. Development of creative

abilities

students

acquisition

necessary

independent music playing.

Work on small-form plays in junior classes

make up

significant

pedagogical

repertoire

under construction

education

pianist According to the program requirements, a junior student in

educational

various

character,

difficulty level. Pupils from all grades enjoy their work

over m.f. plays. And this is understandable: - convenient format, variety of characters

allows

teacher

most

liked

a work that will show the student’s musical merits and give him

opportunity

feel

performer

[Golubovskaya

musical performance"].

For a teacher, working on plays is about consolidating the skills acquired

exercises

classical

repertoire, much less loved by students. Great amount plays,

classics

repertoire,

rapidly

replenished

It is advisable to conditionally divide the plays of m.f. into main types: - Genre

cantilena

software-characteristic

pop-

jazz.

The beginning of learning to play the piano is certainly associated with such a genre as

march. Walking to music is an activity that is understandable and familiar to a child from an early age.

age from music classes in kindergarten. It is at this stage

is happening

introducing the baby to “steps in music”, awareness of the pulse,

toy

soldiers

march-shaped

character

[Barenboim

L."Piano-pedagogical

principles" p. 74]. In my pedagogical practice I'm learning with a student

1st grade “March of Preschool Children” by composer Longchamp-Drushkevichova.

develop

internal

pulsation,

educate metro rhythm, form coordination of movement [Alekseev

A."Methodology

training

piano"].

I explain

fulfills its task left hand– accompaniment, in the right – melodic

Start. In addition to performing artistic and performing tasks, the child

learns to coordinate the sonority of the accompaniment and melody, achieves

independent work of one hand from the other.

Methods and techniques for working on small-form plays

in junior classes of children's music school.

At the beginning of training, it is important to interest the little student, explain

to him that music always tells about something. Analyzing the play "Sparrow"

A.Rubbakha,

let's get acquainted

staccato.

trying

convey through his performance the image of a sparrow and a cat.

In my experience I

I was convinced

Galynina

"Bunny."

A small piece combines many pianistic skills:

playing staccato, chords, quickly changing hands. But children don't notice these

difficulties,

passionate

jumping

attacks

the bunny breaks free and runs away). The change of image (hare-fox) determines the strokes,

dynamics. Another figurative play “Bear” helps my students in

studying bass clef. The world of images of software miniatures of mobile

character

artistic

perception

schoolchildren.

Availability

technical

combines

works

simplicity

clarity

homophonic-harmonic

presentation. In the play “Hedgehog” by D. Kabalevsky, careful movements are heard

small

timid

stops.

Let's sort it out

separately

with each hand, we play chords, the child notices that all the chords are

tonic triads, we learn with a legato stroke, then we work with a non-stroke

legato with both hands. Having mastered the text, having worked through the play with all available

options, we try to convey the image of a prickly hedgehog by playing with strokes on

staccato. N. Korenevskaya’s play “Rain” is very understandable to children at first

listening.

explains

character

analyzes

means of expressiveness (staccato stroke and its pictorial role).

Getting started

skills

sound production

staccato and legato, coordination when playing with two hands.

Performing difficulties in mastering the material relate to diversity

strokes, including the simultaneous sound of staccato and legato in different

metrorhythmic

difficulties

We define

quantity

sections

Droplets of rain in the outer sections, gusts of wind, ripples in puddles in

Taking apart

to plug

attention

proposals

notice

similarities

differences.

Movement

sustainable

combination

major

minor

sequences

working together in the lesson to introduce similar elements of analysis, then the student

gradually gets used to it

and soon tries to figure it out on his own

features of a particular text - this will later save it from

harmful and meaningless motor work.

Problems when working on a small piece

beginners

students

difficulty

works. At a very early stage, the familiarization process includes a bright

execution

works

teacher

precede

available

explanation to the student. The more systematically the teacher teaches the student skills

parsing sheet music

text, the more independently the student works on it in

further.

Getting started

peculiarities

escort,

to uncover

performing

instructions in the text (dynamics, articulation, etc.) [B. Milich “Education

student pianist" p. 113]. Analyzing the game of each hand separately is not

tighten.

accustom

execution,

it is necessary to remember it and analyze what was done and what was not

find out the reason for the failure. It is better to isolate complex constructions and work

separately.

simplify the task by playing one melody, and most difficult places in it, and

passage as a whole, teach it in parts, and then combine it. Sometimes you need

concentrate

any

performance-

sound,

metro-rhythmic,

pedalization.

overcoming

various

difficulties

consolidation

disassembled

have to

many times

pursuit

former

Education of a pianist” p89].

Very interesting, light, comfortable and memorable pieces by the composer

S.Maikapara

favorite

repertoire

little ones

pianists.

In practice, I constantly include them in the repertoire of my students. In the first

class, the play “The Shepherd” is very convenient for children to perform, unison

carrying out

distance

sunny

the little shepherd boy went out into the meadow near the river, the light tune rang over

meadow In working on this piece, we strive to achieve a clear and precise sound of 16th notes,

which imitate the singing of a pipe. I also draw attention to the change

mood in the middle part, working on

the character of the melody in the low

register,

try

express

execution

anxiety and gloomy nature of the melody. A certain difficulty for

The student here is represented by thirds, which must be played coherently and

diminuendo.

“Little Commander”, and both girls and boys love to learn it.

Together we compose a whole story about a courageous and courageous commander.

beware

static, do not drum every note, but feel the movement towards the end

Gamma-shaped

movement

necessary

decisively

crescendo.

We are working very carefully on this place. Checking the accuracy of the fingering

when performing, we play with different sounds (left on forte, right on piano,

then vice versa). It is very important to build a crescendo towards the end. If you connect

pedal, then it will be straight, along with the chords.

“Lullaby” - we consider it from the point of view of vocals, i.e. carry out

analogy with singing. Repeating the same melodic

creates the impression of a baby being rocked.

"Clowns"

composer.

Kabalevsky

generation of pianists and we are no exception. Ancient buffoon musicians

wandered from village to village, sang about the life of the people, amused people with their

jokes and jokes. Children love to perform this spectacular miniature.

We are working

separately,

necessary

constantly

control the work of the hand when performing leaps in the left hand part,

tenacity of fingertips, faithful

fingerings.

We are working

nuances and touches. The energetic sound of the left hand is necessary for

images of jumping clowns require attention. It is important to clarify immediately

fingering in parts of both hands, this will help you learn faster and better

assigned tasks. The play has a 3-part form, where in the 1st and 3rd parts

the left hand part is duplicated. Using brush transfer with tenacious fingers

let's decide on horse racing, it reminds us of clown jumping. Let's repeat

repeatedly

staccato stroke on the instrument cover and listen to how

artists.

we'll move it

exercise

instrument and listen to how these notes sound. If we talk about the 2nd part, then

This is where the chords come in. Please note that they also use

staccato touch, but will be performed differently, more solidly, but

tenacious and collected brush. In the right hand party there is another clown. He's more

mobile, and here it is necessary to monitor the fluency of the fingers - this is the 16th

clarity

winning

compose

small

poem.

I'm jumping faster and faster

I make all people happy

I like it and everyone likes it

Somersault back, somersault forward

Somersault one more time

With these cheerful words with tenacious fingers several times

we play according to

motives, phrases. It is necessary that when playing the hand is natural and

free.

quality

home

I propose

draw

clowns and be sure to train your fingers by playing at different tempos, from

slow to more lively.

You must also take part in the process of choosing the repertoire yourself.

student. Favorite among students is waltz music, where the common feature

is the cantilena origin. (“Slow Waltz” by D. Kabalevsky, “Waltz”

B. Dvarionos,

"Lyrical

D. Shostakovich

Cantilenas

pedagogical repertoire

throughout

training

present significant difficulties when students perform different

level. As a rule, cantilena pieces are based on a beautiful melody. A

assumes

execution.

Basic

piano,

necessary

attention

throughout

training

DMSh. Legato is the basis of sound production on the piano. Teacher

must remember the need to include such

opportunity

consolidation

acquired

sound and intonation representations, develops auditory control and

sound production culture; conscious attitude to phrasing and “breathing”

[Schmitz-Shklovskaya

education

pianistic

skills"

unlearning

cantilena

exists

problem

coherence of sounds. The task is to associate one sound with

to others, stepping from finger to finger or passing the “baton” from one

finger to another. The walking fingers lead the hand that supports them and in

At the same time, it maintains an overall smooth movement. Interaction of fingers and

The hand gives depth to sounds and coherence to melody. It is necessary to monitor

so that your hands are free and your fingers are collected.

An important point when working on a dance piece is to work on

accompaniment.

accompaniment

helps

work,

define

character

opportunity

get acquainted with simple tracking techniques. And also develops

internal

pulsation,

improves

possessions

metro rhythm

"Finnish

composer

Zilinskis.

The accompaniment is built according to the bass interval pattern. It is very important to get it right

develop performance skills: reliance on the bass and ease of the 2nd and 3rd beats. IN

throughout

works

performed

"pinch"

staccato

fingers. We count out loud together with the child, clearly highlighting the first beat,

We teach the accompaniment separately. The correct skill of this technique develops and

strengthens weak 4th and 5th fingers, develops performance skills

chords

intervals,

is fixed

fingering

working on the melody, we determine sentences; there are two of them, let's celebrate

we're losing

climax

Often

is happening

initial acquaintance with pedaling techniques.

Strokes are important in dance plays. Exactly

they give each work a special uniqueness. In this dance

various strokes in the part of both hands. We work carefully with the student on

execution of the precise “hand sat down” technique (rest on the first finger, I follow

so that the hand does not slap or hit the keys. On one move

jumped back

staccato

through

decrease

it is necessary to follow the unifying movements of the hand. Exactly on

movement

fulfill

offer

strokes, active fingers, at a crescendo, without interrupting the melody.

Another significant advantage of plays of a dance nature is the formation

coordination.

learn

coordinate

sonority

accompaniment and melody, achieve independent operation of one hand from

performs

specific

[Golubovskaya N. “On musical performance” p. 74].

“Children's Album” by P.I. Tchaikovsky is excellent material for work

with kids. The play “The Doll’s Disease” is slow, with sad intonations

the music conveys a sad mood. I ask the student to describe

I show

expressed

spread out

chords,

hear

an expressive melody that always has a downward movement. Difficulty

execution

continue

melodic

make the child's ear play the melody as if there were no pauses. In that

In a piece of music, children most often play according to the beat; this cannot be allowed.

offer

play

separately

discharged

half

deep

combination with melody. So that the student can hear a kind of dialogue between two

It is difficult to overestimate the role of this kind of plays for artistic development

students: they are often the simplest examples

program music, in the most direct and accessible form, contributes to

feeling

understanding

closest

[B. Milich “Education of a student pianist” page 132].

Conclusion

fruitfulness

teaching

is

teacher

student.

understanding

based

creative

interest

knowledge

musical

work

considering

individuality

strives

push

independent

the teacher must achieve varying degrees of completeness with the repertoire

execution

musical

works,

considering,

some

works must be prepared for performance in class, other

for review, others for public performance. Starting the selection

repertoire, the teacher must clearly understand for what purpose this or that is chosen

another work.

List of used literature:

1. Golubovskaya N.I. “On musical performance”Music 1985 Moscow

2. B. Milich “Education of a student pianist” Music. Ukraine 1982

3. M. Schmidt-Shklovskaya “On the education of pianistic skills”

"2001 Moscow

4. Alekseev A. “Methods of teaching piano playing” Moscow 1983

5. L. Barenboim “Piano-pedagogical principles” Leningrad 1982

Working on a cantilena piece

in the middle classes of a music school.

Play! What does this mean for our students? In my opinion, this is one of the most favorite works that make up the school repertoire. The Sonata is frightening with its shapes and volumes. Polyphony with intricacies of voices, and etudes technical difficulties. The play is closer and more understandable to the student, regardless of his abilities. In the play, a child can express his feelings, his attitude towards music. The student encounters the piece literally from the very first steps, when he is just beginning to get acquainted with music. And then he doesn’t part with her for a long time. The play occupies a special place in the student’s repertoire. Most often, you manage to complete 2-3 plays every six months, even with an average child. By including plays in the student’s repertoire, we have a large selection of compositions wide range composers of different eras, styles and movements.

Imagination plays a huge role in learning a piece of music. Imagination should be nurtured from childhood. Children younger age They better understand a piece of work with a program that is accessible to their age. Therefore, the repertoire contains many programmatic works that address specific ideas, the figurative expression of the child. Older students can already comprehend the more complex content of music, the composer's ideas requiring abstract thinking.

An important point is the choice of repertoire. The teacher must carefully study the characteristics of the student’s nervous system. On the one hand, do not place excessive demands on the student, which he cannot fulfill according to his natural capabilities, on the other hand, constantly develop his abilities.

Taking these features into account, the teacher can determine in which direction it is more appropriate to develop the student’s abilities. It is useful for a student with increased excitability to work more on pieces of a melodic nature, on the cantilena. A slow student should work on mastering works of a lively nature, while developing the fluency and dexterity that is feasible for him. It is desirable that the student have in his repertoire pieces of a cantilena and moving nature.

When choosing a piece for a concert or exam, it is important to take into account the psychology of the student and choose a piece that is closer to his personality, so that the student feels comfortable and can show himself with best side. So that speaking in front of an audience does not turn into “hard labor.”

So, where should work on a play begin? Work should begin with viewing the entire work, playing it in its entirety. Of course, if the child is on initial stage training, then the first acquaintance with the play takes place with the help of a teacher. If this is a high school class, then the student can sight-read the play himself. This first reading, of course, may be far from ideal, but it is still better than playing the piece in pieces. Naturally, before the first play, it is necessary to discuss with the student the main points: tonal plan, size, shape of the work, pay attention to the stage directions. After the first playback, the work moves on to the next stage, learning the piece. This stage is the most basic, important, painstaking. The main content of this stage is working on the play piece by piece, technical mastery and artistic finishing of each of them.

This division is based on the musical logic of the work, the natural division of the play into parts, sections, periods, sentences, etc. down to a separate intonation in a melodic phrase, to a separate figure in a fast passage. In no case should you divide by bars, starting or cutting off a piece on the bar line that comes in the middle of a musical thought.

On the other hand, when working on a piece, it is not recommended to fix its logical boundaries too precisely, because this leads to the formation of “seams” that are difficult to remove. To avoid this, you need to practice overlapping, that is, learn a given piece, capturing the end of the previous and the beginning of the next piece.

In what sequence should work on the “pieces” take place? Of course, the majority of students do not pay due attention to working on each piece, bringing this work to the end. IN best case scenario they play the work from beginning to end, or the work begins with easy pieces and more convenient and “favorite” ones, but there is no longer enough strength for difficult parts. The teacher’s task, after all, is to teach, convince, force, at least in class, to start with the most “difficult” ones.

The main thing is to teach the child to pay attention. Attention should be developed from the first stages of learning; this plays a decisive role in all future work. The student must be taught to listen carefully to the content of the music, to the quality of the sound, to monitor the accuracy of the rhythm, the specificity of phrasing, the purity of pedaling, not to mention the correctness of the text. It is necessary to ensure that the child can find his own mistakes in the game. There is a danger in memorizing the wrong text and fingerings in a student’s homework.

Now we can turn directly to the play we wanted to analyze. I’ll tell you a little about what preceded this work. Last year, the student played R. Schumann’s play “Winter” from the “Album for Youth” series. We solved complex problems of voice guidance, performance subvocal polyphony, worked on the sound. This year we began to get acquainted with the work of F. Chopin. The music of each of these composers is very individual. The era in which their work falls is usually called the era of romanticism.

One of the main features of the music of the Romantic era is the abundance instrumental miniatures. Returning to program music, we played Schumann's piece with a specific program, and Nocturne has a program, but more abstract.

In the summer we got acquainted with waltzes and preludes. We listened to Chopin's music on recordings to immerse ourselves in the music of that era and style.

A student plays Nocturne in C sharp minor. It was written in 1833 and first published only in 1875.

What problems arose while studying this work. Working on any piece of the slow, cantilena type comes down mainly to working on the sound, and in Chopin’s works this is the most important task. Perfect legato (which was always the subject of maximum care on Chopin’s part), melodious “caressing” touch (with special flexibility of the brush, a movement that Chopin likened to the breathing of singers). Chopin sought to overcome the “percussion” of the piano sound by achieving “vocality” in performance. For this, it is very useful for students to learn to “sing.”

From the first bars of the work, sound difficulties begin. Very complex 4 bar chord intro. It is important to find the right ratio of votes. Learn how to build a chord both “horizontally” and “vertically”. It’s good to listen to voices in different combinations: bass and melody, bass and middle voices, melody and middle voices, etc. Pauses pose a great danger. You definitely need to sing them mentally. You can split the entire introduction into smaller durations and sing them continuously, helping yourself with your voice. This will help you feel forward movement: because. during pauses there is a danger of loss of pulsation. It is also necessary to avoid the emphasis on weak time, on eighths.

The next stage of work is, of course, working on the batches separately. The harmonic figurations of the accompaniment are the background of the poetic melody. It is very good to assemble the accompaniment into chords and listen to all the harmony. Discuss with the student all changes and deviations in tone. Then work out the figurations in relation to the bass. It is very important to find the right bass sound without overloading or losing it. Straightforward sound is not allowed in Chopin's music. Listen to the bass line only.

Working on the right hand part means working on the sound, touching the keyboard. To achieve a “gentle,” warm, “heartfelt” sound, you need to press the keys very intensely, “deeply,” but at the same time keep your fingers as close to the keys as possible. “Take” each sound very well and be sure to “listen” to how one sound flows into another. It is also good to practice the right hand part with the voice.

The melodiousness in Chopin’s “cantilena” should permeate the entire musical fabric, and not just the dominant voice.

At the initial stage, you need to learn the piece without decorations in order to clearly understand and understand the rhythmic pattern.

Difficult transition to the middle part, because there is a change in size, rhythm, tempo. The middle part has a different character. The end of the middle part transitions to adagio. It is important to find the tempo ratio.

There are difficulties in rhythmic terms. Evenness of triplets. Play at a slow tempo, combining 2 measures (the same “rhythmic grid”). And then, adding 2 measures, they built the entire episode of the middle part. Work was carried out on the phrasing of the lower voice, which is the basis of the entire structure.

Work on decorations (trill, grace notes, finger glissando). Trill - if possible, it is better not to play with neighboring fingers 3 and 4. 4&5. Because the 4th finger is somewhat limited in its movements. It is advisable to learn it at different tempos, from slow to fast, with gradual acceleration and changing the sound intensity from P to f and vice versa. Neuhaus suggested learning the trill in two ways: 1) play only with your fingers, raising them well above the keys, feeling their free but easy swing. Play also without lifting your fingers above the keyboard at all, so that “even papyrus paper cannot be slipped between the tip of your finger and the surface of the key.” Such a trill sounds in the music of the nocturne. 2) the opposite method. Using vibration of the hand and forearm. In the practice of pianists, a combination of the first and second is more often used.

In the final part of the nocturne we encounter the finger glissando technique. The nature of the sound and the tempo of the passages do not allow the use of pressure and push here. They do not require distinctness of each note; they need the possible speed, because The main goal is not clarity, but the pursuit of the last note of the passage, creating the impression of a glissando. For this technique, it is best to use sliding your fingers over the keys without lifting or swinging. At a slow tempo, it is useful to learn passages by striking the keys with a small finger span. In this case, you need to slightly tilt your hand towards the current passage. The smoothness and speed of the passage largely depends on the dexterity of the movement of the first finger. It’s good to isolate and teach hand rotations from 3rd to 1st, from 4th to 1st. The problem arose in the rhythmic evenness of the passage. Accompaniment helps here. This is a rhythmic support. His “pulse” supports the passages of the right hand.

A question of fingering. Fingering should be considered from the first stages of work in connection with artistic task, convenience and freedom in the game. Fixed fingerings are relearned with great difficulty and in the future can interfere with the execution of the movement, appearing unexpectedly for the performer and creating disruptions in the game. Therefore, you should carefully analyze the fingering indicated by the composer and editor.

Differences in fingering in the works of the romantics:

Shifting

Slipping

Substitution

1st on black

Cancel save rules. from scales and arpeggios.

The use of individual fingers is the main thing for romantics.

A few words about pedaling. This is the most important component working on sound. Pedaling is inseparable from the entire sound palette. Unfortunately, our students are not able to fully use the pedal freely. At best, they use a direct or delayed pedal. Of course, it is imperative to tell and teach, if possible, different pedaling techniques (direct, delayed, half pedal, tremor, pre-pedal). The main assistant in this is, of course, rumor. You need to listen very carefully to “what sounds?” Auditory monitoring must be constant. An interesting statement by Nathan Perelman: “A manual on pedaling is as unthinkable as, say, A Short Course in Witchcraft or A Manual on Magic.” However, everything that has been said before does not solve the problem of “piano singing”. The main thing on which the latter depends is not so much the way of extracting each sound of the melody separately, but the way of combining them in intonation, sentence, period, and method of phrasing. To master sound means to master the laws of musical phrases. Here we can return again to the art of vocal “singing”. Compare the breathing of the vocalist and the “breathing” of the pianist’s hand. The hand must “breathe” throughout the game, it must be able to consistently take a series of sounds in one “breath”, in one movement. Every little phrase has its own climax. Having found out where the culmination point of the melodic wave is located, you should distribute the breath of the hand so that it “rushes” to that point of “gravity”.

Nuances. The dynamic plan of Nocturne is quite calm. Subtle nuances should flow harmoniously from the student’s varied touch, depending on the execution of certain elements of the melodic pattern and accompaniment.

The last stage of preparing a piece for performance. It is imperative to outline places where the student can pick up the work. At this stage, you need to bring the game to automaticity. Do not allow the student to go back to the beginning. Be able to “get out” of any situation. Achieve the game without stops and overlaps. It’s good to perform the play in advance (perform for parents, friends, other teachers). But even when the play is ready to be shown to the public, it is imperative to continue working on the most difficult and “treacherous” parts at a slow pace.

LITERATURE:

1. Milich B. Education of a student pianist. K.1979
2. Ginzburg L. “On working on a piece of music.” - M., 1968.
3. Hoffman I. Piano playing. M.: 1998.
4. Kogan G. The work of a pianist. M.: 1979.
5. Savshinsky SI. Working on a piece of music. L.: 1961.
6. Shchapov. A.P. Piano lesson in music school and school. M.:2001

N.R. Zrulina

L.A. Manina

teachers of Children's Art School of Motovilikha district of Perm

The basis of this methodological development were observations and conclusions from our educational and concert practice.

Naturally, we do not pretend to be original ideas; moreover, much of what is stated below will be familiar to our colleagues. However, we tried to systematize the known approaches to working on a work, conditionally dividing them into stages and arranging them in a logical order.

Working on a piece of music is a thorny, difficult path where it is impossible to use cliches and cliches. The same work, depending on the student’s abilities, requires a new look, a different reading. The degree of pedagogical skill lies in turning work on a work into an exciting, creative process for both the student and the teacher.

The first stage of work on the work:

• familiarization;
• text parsing;

• learning notes.

Usually, we begin work on a piece of music by first listening to a new composition and getting to know the style, era and biography of the composer. In our teaching practice, we use the following methods of work at the initial stage:

first - the teacher himself performs a new work for the student, thereby inspiring and stimulating him for further work;

the second is listening to the composition being studied in audio or video recording, performed famous pianists different eras. We usually do this by following the sheet music. After preliminary familiarization with the new work, we together with the student conduct an analysis:

We determine the nature and structure of the work;

We determine the tonal plan, tempo, rhythm features;

We discuss the dynamics and analyze the strokes;

We outline the climax points;

We decide what technical techniques we will use in our work;

After this, the student talks about his impressions of the work. We suggest that in his homework he find interesting biographical facts about the composer, learn about his work, and listen to other works by this author.

Having become familiar with the work, the student begins to analyze the musical text.

In this regard, it is interesting to turn to the statement of Konstantin Nikolaevich Igumnov: “You need to put all your attention, all the experience of your life into analyzing the text.” Competent, musically meaningful analysis creates the basis for further proper operation. We have developed the following parsing requirements musical work, which we consider necessary for further work on the work:

Careful reading of music text at a slow tempo;

Metro - rhythmic precision;

Choosing and using precise fingering;

Applying the right touches;

Meaningful phrasing and dynamics;

Understanding harmonic texture;

Sensitive and precise pedaling.

The time allotted for analyzing a piece will vary greatly for students of varying degrees of musical development and talent. Our pedagogical experience shows that one student brings a competent analysis already in the third or fourth lesson, while for others this will require much more time and effort.

One of important points At the initial stage of working on a piece, we consider working on the fingering. Correct and convenient fingering contributes to more quick memorization text, incorrect - slows down the learning process. Therefore, we use the following methods of working on fingering in our practice:

The teacher thinks over and writes down the fingering, in consultation with the student;

The student continues to record the fingering during the lesson under the supervision of the teacher;

The student is asked to continue recording the fingering independently;

The teacher's role in choosing fingerings should be active, since it is necessary to take into account the size of the hand and the characteristics of the student's pianistic apparatus, as well as his technical training.

ABOUT artistic significance fingerings were spoken and written by many outstanding pianists-teachers:

G. G. Neuhaus considered the best fingering “which allows the given music to be most accurately conveyed and most accurately matches its meaning.”

When learning a piece of music it is also important rhythmic control, developing a sense of unified breathing, understanding of the integrity of form.

In our work, we use the following methods, in addition to the traditional counting out loud: working with a metronome, learning the rhythm using subtexts, pronouncing rhythmic syllables, tapping the downbeat with the foot, etc. It is useful to practice rhythm, both at the initial stage of work and when performing a finished, memorized piece. We invite the student to practice the techniques worked out in class on their own in their homework.

Second stage of work:

• learning by heart;
• work on sound;
• phrasing, dynamics;
• technical mastery of the work.

An important period in working on a work is learning by heart . The question of when to learn a piece by heart - at the end of working on it or at the beginning - is decided by teachers in different ways. For example, A.B. Goldenweiser said: “I always insist that you first need to learn a piece from memory, and then learn it technically, and not vice versa...”

In this case, performing from memory becomes convenient and natural for the student, facilitates and speeds up the progress of work, since the student is not associated with the text, and sooner acquires a feeling of physical and emotional comfort. Only meaningful learning of a piece will lead to success.

However, our practice shows that learning a work by heart should occur precisely at the second stage, when the student has mastered the text quite confidently.

There are many known methods and methods for memorizing music text. The following is closer to us: a piece learned from memory is performed at a slow tempo with careful listening and detailed understanding of the text.

But one cannot fail to note the method proposed by I. Hoffman.

He writes: “There are four ways to learn a piece:

At the piano with notes;

Without piano with notes;

At the piano without notes;

Without piano and without notes."

The most common and often used in our practice is the first method. It is more expedient, in our opinion, to divide the work into parts or episodes, and carry out the work step by step, achieving a high-quality result. We also use the following methods of memorizing and learning a piece by heart:

2) begin the work from any section, part or musical structure. This method leads to greater confidence in performance;

3) use the cumulative memorization method, i.e. perform the piece from memory from the last sentence, then from the penultimate one, and so on, adding one sentence at a time.

Using this method of work, the student is guaranteed against any accidents at the concert, since he will be able at any moment to both grasp the work as a whole and imagine any specific musical structure.

Sound work considered the most difficult. We consider one of the main tasks of achieving high-quality sound to be the development of the ability to listen closely to the sound of the instrument. When working on sound, the teacher strives to achieve a natural, rich, soft sound of the instrument.

G. G. Neuhaus wrote: “Only those who clearly hear the length of a piano sound... with all changes in strength... will be able to master the necessary variety of sound, necessary not only for polyphonic playing, but also for a clear transmission of harmony, the relationship between melody and accompaniment, and most importantly - to create a sound perspective, which is as real in music for the ear as in painting for the eye."

To teach how to express a variety of emotions, the most intimate states of the soul with the help of sound, in our opinion, is one of the main tasks of a teacher at this stage of work.

As an element of expressiveness and transmission emotional state dynamics appear, which help to identify the culmination points of the work and enrich the texture with bright colors.

Working with the student, we try to build a dynamic plan in such a way that the intensity of the sound climax corresponds to its significance in the overall emotional and semantic context.

As a result, the form of the work will be covered by a single emotional whole, which will lead to the completeness of the composition.

Mastery cannot be ignored pedal . This work is integral and necessary at this stage. We constantly pay attention to editor's remarks, in some cases we recommend that the student install the pedal himself. The main thing is to be able to avoid extremes: too economical, dry and, conversely, too much pedaling.

From the very first lessons, when working on a piece of music, we instill in the student the elements of literate musical thinking. Together with the student, we analyze the structure of a musical phrase, which should have its own semantic peak. Therefore, at this stage special meaning gains work on phrasing musical work. A thoughtful attitude to the phrase allows you to delve into the musical content of the work. One of the conditions for revealing the content is a sense of direction in the development of musical structure.

Igumnov wrote about this: “In every phrase there is a certain point that constitutes the logical center, that is, the point towards which everything gravitates and strives. This makes the music clear, unified, and connects one thing to another.”

At the same time, we must not lose sight of the moments of demarcation of musical constructions, the completion of one and the beginning of a new musical idea.

“All music is always dissected by breathing. Live breath, which is the “nerve” of any expressive performance, must be an integral property of piano performance.” This is how A.B. wrote about the meaning of breathing in music. Goldenweiser.

One of the important aspects of the work concerns technical mastery work. Regarding this problem, we can distinguish two main types of tasks: overcoming technical difficulties at a slow or moderate pace and working on technical techniques in the desired sound character and at the final tempo.

As noted earlier, performance techniques should be practiced in at a slow pace :

Technically difficult sections are practiced slowly or at an average pace until they are memorized to the point of automaticity;

Particularly difficult passages are divided into small phrases and gradually mastered at a moderate pace;

Each hand separately learns one beat at a time, stopping on the downbeat.

Regarding work in final pace , then the student must be given the following tasks: acquiring the necessary dexterity, quick motor reaction, control of attention and meaningfulness of sound production.

In order to well develop the technical capabilities of a young musician, in our opinion, it is necessary to train not so much the fingers as the head.

G. M. Tsypin said about this in his book “Learning to Play the Piano”: “He who knows how to think quickly while playing the piano plays the piano quickly. For a musician, thinking quickly means easily and naturally navigating instantly changing game situations, keep control over execution at the highest speeds...".

Based on experience, we can say that some children have good fluency, but at the same time their fingers move without the participation of thought. Such a performance most often becomes an empty formal performance.

For other children, on the contrary, there is such a close relationship between the fingers and auditory control and thinking that they cannot perform a piece without hearing it with their inner ear.

This is why, from our point of view, it is important to “train your head” in any case.

Third stage of work:

· identifying the integrity of the work;

· clarification of the execution plan;

· preparation for concert performance.

Developing the student’s ability to hear, grasp the entire work as a whole, and the ability to perform it on the stage is an important task in final stage work.

The perception of a musical work is always associated with listening to it as a whole. This can help us by returning to the early stages of work, such as repeated listening to audio and video recordings. This allows you to compare your interpretation with the interpretation of great pianists and enrich the experience of aesthetic perception.

Having gone through the previous stages of working on a work, the student gradually achieves independence and masters the skills of self-expression. Moving first along the path of imitation, he begins to bring his own attitude into the performance, which allows him to develop a sense of proportion in the student and instills artistic taste.

Performing brilliance is a sign of undoubted artistic talent. It is not characteristic of every student, but by developing this quality, a teacher can achieve certain results.

The practice of concert performances has shown that the brightness of the transmission musical image closely related to the emotional side of performance. Often, having learned a piece, the student cannot perform it with inner freedom or reveal the figurative content. Of great importance, in our opinion, is the choice of concert repertoire, where genre, textural diversity, and vivid imagery are especially important - all this contributes to passion for this music and the performance process itself.

Today we can interest a student not only with famous classical works, but also the repertoire modern composers such as I. Parfenov, E. Poplyanova, V. Korovitsyn, Y. Vesnyak, N. Toropova, Y. Litovko.

When working with the works of these authors, the student is fascinated by the bright imagery and modern presentation of musical material, interesting harmonic discoveries and new rhythmic formulas.

Performing freedom will not be able to fully develop if the student does not have sufficient experience public speaking. The stage performance sums up all the work done. It is very important that performed work became a favorite for the student and brought creative inspiration to the young musician. A bright, emotional performance will always be of great importance, and sometimes it can turn out to be a major achievement for the student and for the teacher.

Be able to set the student up before concert performance, instill confidence in one’s abilities, and after the performance note positive results, while showing correctness in expressing criticism - this is a manifestation of the teacher’s professionalism.

The role of the teacher in the process of working on a piece of music is enormous. His participation should be active and creative at all stages of work.

Conclusion

Creative communication between a teacher and his student does not fit into the format of the listed stages of work. The education of a young pianist is not subject to the regulations of the educational process; it has no limits. Starting from the first lessons, we try to put a piece of our soul into each student, to instill a love for the most beautiful of arts, using all our pedagogical talent and extensive experience.

Bibliography:

1. Barenboim L.A. Music pedagogy and performance. - L.: Music, 1986.
2. In class A.B. Goldenweiser. - M., 1986.
3. Hoffman I. Piano playing. - M.: Muzgiz, 1961.
4. Igumnov K.N. Performance problems. //Sov. art, 1932.
5. Lyubomudrova N.A. Methods of learning to play the piano. - M.: Music, 1986.
6. Neuhaus G.G. On the art of piano playing: Notes from a teacher. - M.: Classics XXI, 1999
7. Timakin E.M. Education of a pianist. - M.: Soviet composer, 1984
8. Tsypin G.M. Learning to play the piano. - M.: Education, 1984.