Modern ensembles of folk instruments. The main directions of development of orchestras and ensembles of folk instruments

The ensemble is formed from students 10-14 years old, in the amount of 15-20 people. Also allowed are children of elementary grades who are making progress in mastering a special instrument and showing a desire to participate in the ensemble. Instruments included in this ensemble: button accordion, prima balalaika, bass domra; ocarina, recorder, cugicles; spoons, ratchet, rubel, triangle, kokoshnik, etc.
The head of this group must have the basic skills of playing all the instruments that make up the ensemble, as well as the skills of writing and reading orchestral scores.
When distributing students by instrument, it is necessary to take into account their abilities, desire, and temperament. Instruments such as bayan, prima balalaika, bass balalaika, bass domra, as well as horn and zhaleyka are better for boys to master, and girls are more suitable for flute, ocarina, recorder and kugikly. Percussion instruments are mastered by students of the aesthetic department, since this group of instruments is very easy to learn and does not require additional classes. A variety of percussion instruments, a variety of colorful techniques for playing them, arouses interest in classes in the ensemble, even among students with different musical abilities. These classes in a team of professional orientation for students of the aesthetic department create additional conditions for classes, concert performances, this stimulates the desire to make music, increases interest in folk musical creativity.
At the initial stage of learning a piece, small-group classes (from 2 to 6 people) can be carried out, while uniting students playing homogeneous instruments (groups of balalaikas, button accordions, pity, pipes), and for a thorough and detailed analysis of parts, individual work with the student is allowed. In the process of such a lesson, the teacher should introduce students to the instrument, the basics of landing, formation, and the basic techniques of the game. It is very important to pay special attention to the group of percussion instruments, as they are the rhythmic basis of the ensemble. For a group of percussion instruments, it is useful to work with exercises for mastering various rhythmic patterns.
After holding small-group rehearsals, the leader organizes consolidated rehearsals of the entire ensemble, in which all participants perform their parts. At the first consolidated rehearsals with the ensemble, it is recommended to start work with simple exercises for mastering the instruments, for example: exercises set out in large durations to work on smooth sound leading and balance in the ensemble, exercises that are not rhythmically complex using various strokes. From the very first rehearsals, attention should be paid to the correct execution of strokes, worked out in groups, achieving unity of performance. Exercises should also be selected separately for each instrument, aimed at studying a specific playing technique. For convenience, it is recommended to divide the works into small parts, most often these are periods, and designate them with numbers so that there is no confusion when working on a separate part of the play being studied.
In the process of each rehearsal, the leader must set certain goals and use different methods of work, based on the stage at which the work on the piece of music is.
Work on a piece of music must be divided into several stages: sight reading, analysis, work on difficult places, learning and concert performance. It is also necessary to remember the peculiarities of ensemble playing: precise execution of techniques and strokes, rhythmic evenness, simultaneous sound capture, balance between instruments, or between a soloist and an ensemble.
In order to properly build the educational process, it is necessary to approach the choice of educational material with responsibility.
When choosing pieces, it is necessary to pay attention to their accessibility for students, interesting content and new playing techniques, it is also recommended to include a piece with a soloist in the program, thanks to which the skill of vocal and instrumental ensemble playing is developed. It is desirable to use works of different genres.
The repertoire list is not exhaustive. The leader can supplement it with folk arrangements, works of different genres in his own arrangement.
In the last year of study, a short theoretical course on the history of performing on Russian folk instruments was introduced, for which 0.25 hours are allotted (this time can be changed at the discretion of the teacher).
An integral part in the upbringing of a full-fledged musician is a concert performance. Such events unite the team even more, instill a sense of responsibility in children.
This type of music making is interesting for children, it allows them to feel the spirit of Russian culture, love and respect their country.

Working with a mixed ensemble

Russian folk instruments

Modern trends in the field of performance on Russian folk instruments are associated with the intensive development of ensemble music-making, with the functioning of various types of ensembles at philharmonics and palaces of culture, in various educational institutions. Hence the need for targeted training of the leaders of the respective ensembles in the departments and faculties of folk instruments of music schools and universities of the country.

However, the education of an ensemble player in educational practice, as a rule, is associated with certain limitations. Teachers are usually instructed to lead homogeneous ensembles: bayan players - bayan ensembles, domrists or balalaika players - ensembles of stringed plucked folk instruments. Compositions of this type are widely used in professional performance. Suffice it to recall such famous ensembles as the bayan trio A. Kuznetsov, Y. Popkov, A. Danilov, the bayan duet A. Shalaev - N. Krylov, the Ural bayan trio, the Kiev Philharmonic quartet, the Skaz ensemble, etc.

Undoubtedly, working with homogeneous ensembles - duets, trios, bayan quartets, trios, domra quartets and quintets, balalaika unisons, etc. - is very important. Nevertheless, the described limitations in the activities of teachers of schools and universities hinder the full-fledged training of young professionals, because in fact, graduates of music schools very often face the need to lead mixed ensembles. Most often, the latter consist of stringed instruments and button accordion. Classes with such teams should become an integral part of the educational process.

Getting to work, a modern teacher is faced with inevitable difficulties: firstly, with an acute shortage of methodological literature on mixed ensembles of Russian folk instruments; secondly, with a limited number of repertoire collections, including interesting original compositions, transcriptions, transcriptions, proven by concert practice, and taking into account different levels of training and creative directions of these compositions. Most of the published methodological literature is addressed to chamber ensembles of an academic profile - with the participation of bowed piano instruments. The content of such publications requires significant adjustments, taking into account the specifics of folk ensemble music making.

This development characterizes the basic principles of working with a mixed ensemble of Russian folk instruments. At the same time, a number of practical tips and recommendations expressed below apply to other types of mixed ensembles.

The main problem solved in the process of working with these groups is to determine the optimal timbre, loudness-dynamic and stroke ratios of stringed instruments and button accordion (based on the mismatch of sound sources, sound production methods and different acoustic environments).

Timbres instruments are among the most striking means of expression in the arsenal of a mixed ensemble. From the diverse timbre relationships that arise in the process of performance, one can single out the autonomous characteristics of instruments (pure timbres) and combinations that occur when sounding together (mixed timbres). Pure timbres are usually used when one of the instruments is assigned a melodic solo.

It should be emphasized that the sound of any instrument incorporates many "internal" timbres. For strings, one should take into account the timbre “palette” of each string, which varies depending on the tessitura (it means the sound features of a certain section of the string), the discrepancy between the timbre at various points of contact with the string (pick or finger), the specifics of the material from which the pick is made (kapron , leather, plastic, etc.), as well as the corresponding potential of various performing techniques. The button accordion has tessitura heterogeneity of timbres, their correlation on the right and left keyboards, timbre variation with the help of a certain level of pressure in the fur chamber and various ways of opening the valve, as well as loud changes.

To highlight the timbre of one of the stringed instruments - members of the ensemble - it is recommended to use register combinations that a modern ready-to-select multi-timbre button accordion has. The timbre fusion of the button accordion with the accompaniment instruments is provided by one-voice and two-voice registers. “Emphasizing” the same bayan timbre, depending on the characteristics of the texture, is facilitated by any polyphonic combinations of registers, which, in combination with strings, provide the necessary timbre relief.

Mixed tones result from the combination of pure tones and form a variety of combinations.

The loud-dynamic and stroke characteristics of the instruments are closely related to the timbres. In ensemble music playing, the loudness-dynamic balance conditioned by rational and artistically justified use of appropriate resources. The loud "relief" of each part is determined based on the composition of the ensemble, the features of the instrumentation and tessitura of other parts, the functions of individual voices in musical development throughout a particular piece. The basic principles of differentiation of loudness levels in relation to a mixed ensemble can be formulated as follows: the lower limit is high-quality intonation in conditions of extremely quiet sonority, the upper limit is timbre-saturated, without crackling sound of strings. In other words, when using the loud-dynamic capabilities of instruments, a measure must be observed so that the color of each instrument does not become either distorted or depleted.

Stroke ratios instruments in the process of joint music-making is perhaps the most difficult problem of ensemble performance. This complexity is explained by the insufficient development of the theoretical aspects of the stroke technique in the string-plucked and button accordion techniques.

Numerous strokes used in ensemble performance can be conditionally divided into two large groups: “equivalent” (related) and “complex” (simultaneous combinations of different strokes). In those cases where the nature of the presentation implies a continuous sound of the ensemble, the regular discrepancies due to the different nature of the sound production on the plucked and button accordion are smoothed out as much as possible, reduced to a single sound “denominator”. Therefore, the greatest difficulty in mixed ensembles is the execution of "equivalent" strokes.

What contributes to the formation of the noted unity in the collective embodiment of these strokes? First of all, the study of the most important features of sound formation and the development of sound (attack, lead, removal), as well as the principles of its connection with the next sound. Depending on the specifics of the sound extraction inherent in a particular instrument, on the sounding body (string, metal plate) and the methods of its excitation (with a finger or pick - plucked, air pressure on a metal tongue and a certain keystroke - button accordion), there are discrepancies of certain characteristics in relation to for each phase of the sound.

sound attack. At this stage of sounding, the strings use three main playing techniques: trembling, plucking and percussion. The following correspondences are found in the methods of attack between the strings and the button accordion:

• soft attack: tremolo for strings is adequate to the elastic supply of air with simultaneous pressing of the key on the button accordion;
• solid attack: a pinch for the strings corresponds to the preliminary leading of the bellows, which creates pressure in the bellows chamber, with a sharp pressure (push) of the button on the button accordion; hard attack: Striking a string or strings corresponds to pre-pressure in the bellows chamber and striking a key on an accordion.

Sound guidance. In this phase, the strings have two types of sound: fading (after an attack carried out by a pluck or blow) and stretching (by means of trembling). On the button accordion, the decaying sound is associated with the “descending” loudness dynamics (relaxation of pressure in the fur chamber), which is predetermined by the nature and speed of sound decay in strings. With regard to the second type of sound, both on the strings and on the button accordion, any loudness-dynamic changes are possible.

Sound pickup– the most complex phase (in terms of ensemble coordination), requiring additional analysis of the phases mentioned above. So, when attacking with a pinch or a blow without a “picking” lead (tremolo or vibrato), the sound of the strings is interrupted by removing the finger of the left hand (sometimes it is muffled by the right hand). On the button accordion, the indicated technique corresponds to the removal of the finger, followed by the stop of the fur, due to the nature of the removal. When attacking and leading the tremolo sound, the removal of the strings is carried out by simultaneously stopping the pick and removing the finger. On the button accordion, an adequate sound result is achieved by stopping the bellows and simultaneously removing the finger from the key.

WITHcombination of sounds plays an important role in the process of intonation, including musical phrasing. Depending on the nature of the music, various methods of connection are used - from the maximum differentiation to the ultimate fusion of sounds. In this regard, it is extremely important in ensemble work to achieve synchronicity - "coincidence with the utmost accuracy of the smallest durations (sounds or pauses) for all performers." Synchronicity arises due to a common understanding and feeling by partners of tempo and metric parameters, rhythmic pulsation, attack and removal of each sound. The slightest disruption of synchrony when playing together destroys the impression of unity, ensemble unity. In this situation, the choice of the optimal tempo is very important, which can change in the process of working on the piece. In the final period of rehearsal sessions, the tempo characteristics are determined by the capabilities of the team (technical equipment, the specifics of individual sound production), and most importantly, by the figurative structure of the work.

Ensuring the rhythmic unity of ensemble sounding is facilitated by the formation of a metrical support among all participants. The role of the corresponding foundation in the ensemble is usually assigned to the double bass balalaika, whose characteristic timbre stands out against the background of the sound of other instruments. By emphasizing the strong beat of the measure, the double-bass balalaika player has an active influence on the general character of the musical movement in accordance with the phrasing of the melody.

To achieve the synchronicity of an ensemble performance, it is important to feel the unity of rhythmic pulsation, which, on the one hand, gives the sound the necessary orderliness, and on the other hand, allows you to avoid mismatches in various combinations of small durations, especially when deviating from a given tempo. Depending on the latter, as well as on the figurative-emotional structure of the performed composition, the same type of pulsation unit is selected for all members of the ensemble. Usually, at the initial stage of learning a technically complex work, the smallest duration is chosen as the unit of pulsation; in the future, with an acceleration of the pace, - a larger one. At the same time, it is recommended to return from time to time to relatively slow rates and, of course, to the appropriate units of pulsation.

As an explanation, let's take the following example - F. Mendelssohn's Scherzo (from the music to W. Shakespeare's comedy "A Midsummer Night's Dream"). The unit of pulsation at a slow tempo here becomes the sixteenth duration, which contributes to the exact juxtaposition of eighths and sixteenths. At a fast tempo, a similar function is given to a quarter with a dot or an eighth.

Let's also consider a fragment from the initial section of "The Tale of the Quiet Don" by V. Semenov:

Taking the eighth duration as a unit of pulsation, performers can accurately calculate the half with a dot in the second measure, achieve synchronism in the movement of eighths and the end of phrases. The caesura before the entry of the entire ensemble breaks the continuity of the pulsation and prevents the simultaneous confident start of the next formation. In this case, it comes to the rescue conditional gesture. Since the parts of string instruments use the attack technique without a preliminary swing (tremolo from the string), the accordionist should show the ensemble introduction. Taking into account the previous withdrawal and the presence of a caesura between the two phrases, he marks the auftact with a slightly noticeable movement of the body in accordance with the nature of the next construction.

In the performing process, deviations from the main tempo are not uncommon - slowdowns, accelerations, rubato. These moments will require painstaking work aimed at achieving naturalness and uniformity in the actions of musicians based on a clear foreknowledge of future tempo changes. Each such deviation must be logically justified, related to the previous development and binding on all performers. If any of the band members allowed themselves to deviate from the previously fixed limits of acceleration (deceleration), other ensemble players need to make similar adjustments in order to avoid asynchrony of the tempo pulsation.

In such situations, conventional sign language also comes to the aid of instrumentalists. First of all, it is necessary to achieve maximum coherence of actions at the moments of the beginning and end of constructions. Among the visual and easily caught gestures are: for the accordion player - the movement of the body and the stop of the movement of the bellows, for the string players - the movement of the right hand down (with a preliminary swing - “auftact”, corresponding to the nature of this episode) at the beginning of the sound and the movement up when the sound is removed ( a similar downward movement does not contribute to the synchronism of the ending, since it is visually perceived by partners with known difficulties).

An important prerequisite for the successful work of the team is accommodation its members. At the same time, a comfortable position for the musicians, visual and auditory contact between them, and, most importantly, a natural sound balance of all instruments (taking into account their loudness-dynamic capabilities and the acoustic specifics of this hall) should be ensured. The most appropriate is the following placement of instruments (from right to left, in a semicircle, facing the audience): small domra, alto domra, button accordion, double bass balalaika and prima balalaika. With such a disposition, the solo instruments turn out to be as close as possible to the listeners - the small domra and the prima balalaika. The double bass balalaika and the alto domra are somewhat moved back into the depths of the stage, as far as possible being located on the same line. Bayan, which is superior in terms of loudness and dynamics to its partners, is placed even further from the audience.

In a mixed ensemble of Russian folk instruments, depending on the intention of the instrumentalist, one or another function can be entrusted to any part. Therefore, each of the participants must perfectly master the main components of an artistically expressive ensemble performance. Let's list these components:

1. The ability to take the initiative at the right moment, to act as a soloist at this stage, without losing, however, connection with the accompaniment, sensitively perceiving its harmonic, textural, rhythmic features, determining the optimal ratio of loudness-dynamic gradations between the melody and the accompaniment. The ability to inspire partners with their interpretive intent, depth and organic interpretation of musical images should also be recognized as a necessary quality of the presenter.
2. Possession of the skills of "veiled" transmission of a melody to another instrument. Performers participating in such episodes should strive for maximum smoothness, invisibility of the "movements" of the melodic voice, mentally intoning it from beginning to end and maintaining the unity of character, figurative-emotional structure of the corresponding construction or section.
3. Mastering the skills of a smooth transition from solo to accompaniment and vice versa. Significant problems in such situations usually arise due to an overly hasty, fussy completion of a melodic fragment or an exaggerated "scale" of accompaniment (failures in rhythmic pulsation, the same type of nuance, etc.).
4. The ability to perform accompaniment in full accordance with the nature of the melody. Usually accompaniment is divided into vocal, pedal and chord. The undertone grows out of the leading voice, complementing and shading it. The pedal serves as a background for the expressive and embossed sound of the melody, in some cases linking the latter with the accompaniment, in others creating the necessary flavor. The chord accompaniment, together with the bass, acts as a harmonic and rhythmic foundation. It seems very important that the accompaniment that interacts with the melody complements it organically.

In the case of a polyphonized presentation of the accompaniment, it is recommended to determine the role and significance of each voice in relation to the others, setting the necessary loudness-dynamic and timbre gradations. At the same time, it is necessary to achieve the relief of the sound of all elements of the ensemble texture.

Creating a mixed ensemble, the teacher is faced with the problem formation of an original repertoire- one of the main in ensemble performance. The latter, like any independent type of performing art, must be based on an "exclusive", unique repertoire. However, at present, composers prefer to compose for certain groups, with which, as a rule, they maintain constant creative contacts. Ensembles of other compositions are forced to be content with arrangements that often do not correspond to the author's intentions.

The solution to this problem is possible under the condition of an active creative position occupied by the head of the ensemble. In accordance with the tasks facing the team, the leader selects the repertoire using various sources. These include published repertoire collections, student instrumentation work, and manuscripts received from fellow members of other related ensembles.

It is highly desirable that each group of this kind be a genuine creative laboratory in the field of instrumentation. The path from creating a score to performing in an ensemble, compared to an orchestra, is significantly shortened: a prompt analysis of the instrumentation allows you to immediately make corrections and determine the best sounding option.

Masterful instrumentation is rightfully considered one of the important factors contributing to the successful performance of an ensemble. The burden of responsibility placed on the instrumentalist is extremely great. Depending on the nature of the work, given textures, tempo, loudness dynamics and other parameters, the functions of the ensemble parts are divided, the presentation of the musical material is adapted, taking into account the specific features of the instruments, the performing style, and the technical potential of the members of this group.

A real instrumentalist masters ensemble "hearing" only in the process of long-term work with a specific instrumental composition. Thanks to repeated listening, corrections and comparative analysis of different versions, auditory experience is accumulated, allowing you to take into account possible options for instrumental combinations. Changing at least one position in the ensemble, adding or replacing any instrument with another entails a different attitude to the distribution of functions, to the overall sound of the collective.

The author of the score must take into account that the ensemble functions of the instruments differ from the orchestral ones. First of all, each part, based on the context, can be used as a melodic or accompanying one. The difference lies in the larger use of the expressive possibilities of the instruments, which is facilitated by the playing techniques usually used in solo practice.

The reworking of an orchestral score for an ensemble is often accompanied by specific difficulties due to the large number of voices that cannot be reproduced by a chamber ensemble. In such a situation, only the main elements of the musical fabric - melody, harmonic accompaniment, bass - and the characteristic details that determine the artistic image of the work are allowed to be re-stated. The most sensitive and complete use of the specific expressive capabilities of the instruments, their most striking qualities, a clear anticipation of optimal timbre combinations contributes to the achievement of richness and brilliance of the ensemble sound.

When creating such a score, it seems unjustified to automatically save the orchestral grouping of instruments (domra, wind, bayans, percussion, balalaikas). More appropriate is the location of the parts based on their sound range: small domra, prima balalaika, alto domra, button accordion and double bass balalaika. A different arrangement, based on the principle of species differences (small domra, alto domra, prima balalaika, double bass balalaika, button accordion), is associated with difficulties in the design and perception of musical text, which has to be read not sequentially, but in a zigzag manner. In the event that the participation of a soloist is envisaged, he is assigned the top or bottom line of the score.

In conclusion, we should mention the universal training of the future leader of the ensemble. He must not only be an educated musician and an excellent performer - he must understand all the intricacies of instrumentation, know the expressive features of each instrument and their joint sound, individual technical capabilities and creative aspirations of the team members, and possess pedagogical skills. It is universalism, combined with a tireless search, aspiration for new artistic discoveries, that is a prerequisite for the further progress of the national folk ensemble performance.

LITERATURE

1. Raaben L. Questions of quartet performance. M., 1976.
2. Gottlieb A. Fundamentals of ensemble technique. M., 1971.
3. Rozanov V. Russian folk instrumental ensembles. M., 1972.

The repertoire is the basis of the creative activity of any artistic group. A solid, high-quality repertoire for ensembles of Russian folk instruments stimulates the growth of the performing and artistic skills of the participants and at the same time contributes to the development of the artistic tastes of the public.

It is necessary to carefully select works of artistic value, combining interesting content with perfection of form, with original and diverse means of expression that can truly captivate the audience and reveal the artistic talents of the performers.

Of great importance in the formation of the repertoire is the selection of members of the ensemble and the level of their performing skills. It is difficult to captivate today's listener with playing simple or artistically unconvincing pieces. We need bright, memorable, emotional works that deliver true aesthetic satisfaction.

When choosing a repertoire for an ensemble of Russian folk instruments, one should take into account not only educational tasks, but also represent the ultimate goal of its work - a concert performance. An artistically full-fledged creative team should perform works of different genres and styles.

The repertoire for a concert performance should be selected and arranged taking into account the preparedness, the level of musical perception and the tastes of the public. A great educational mission, entrusted to the ensemble, involves the popularization of the best works in the widest circles of listeners. For a successful concert, it is necessary to combine difficult-to-perceive works with more popular ones, instrumental numbers - with the performance of solo singers.

When compiling the concert program, the leader must also take into account the direction of the concert (lecture-concert, lunchtime concert, holiday concert, etc.) and the venue (large concert hall, village club stage, field camp, etc.). )

In concert programs, the sequence of numbers is of great importance. One of the principles of programming:

Alternation of serious numbers with more entertaining ones;

The numbers that have the greatest success with the audience should be performed towards the end of the program;

Contrasts, detente and switching, genre diversity are necessary.

The main tasks of the instrumentalist.

Well-made instrumentation is one of the decisive factors for the successful performance of an ensemble. Depending on the nature of the work, texture, tempo, dynamics, etc. the instrumentalist must carry out the division of functions, present the material according to the specific quality of the instruments, the manner of playing each of them.

To do this, it is not enough for him to know only the structure and range of the instruments that make up the ensemble. In order to better represent the timbre, dynamic, stroke features of the sound, he must have sufficient skills in playing these instruments.

A real instrumentalist begins to "hear" the ensemble only during long-term work with the team. Instrumenting for a permanent composition, he begins to imagine all possible options for the relationship of instruments. A change in the composition of at least one instrument (the addition or replacement of one instrument by another) causes a different distribution of functions, a different sound of the ensemble as a whole.

The instrumentalist should always keep in mind that the functions of instruments in an ensemble differ from the traditional use of those instruments in an orchestra. First of all, they become more extended: each instrument, depending on the emerging musical situation, can perform both solo and accompanying functions.

In addition, the difference lies in the more complete use of the expressive possibilities of each instrument, in the use of various playing techniques, usually used in solo practice.

The instrumentalist must also be very careful when re-instrumenting the orchestral score for the ensemble. In this case, it is not necessary to completely put all the voices into the score. It is enough to single out the main ones: melody, harmonic accompaniment, bass and other elements of the musical fabric that determine the main character, and on this basis to create an instrumentation of a work that would not only not lose its face in the ensemble sound, but would acquire new qualities due to rethinking.

The instrumentalist, in addition to general issues, needs to be well versed in the features of instrumentation for a mixed composition.

Mixed ensembles are ensembles that use instruments with different sound sources, sound production methods and different acoustic environments.

Each instrument in a mixed ensemble will have different expressive means associated with its inherent natural sound and sound qualities: timbre, dynamics and stroke palette.

Timbre is the most impressive expressive means. It is the timbre coloration that determines the face of the ensemble, its unique features. The playing of a mixed ensemble is distinguished by the richness and variety of colors of the musical fabric, the shades of sound, the juxtaposition of timbres in various textured combinations, etc.

For strings, the timbre of each string changes in a different tessitura (features of the sound of a certain section of the string); the change in timbre occurs due to different points of contact of the pick or finger with the string, due to the quality of the material from which the pick is made - nylon, leather, plastic, etc., as well as through the use of various performing techniques for playing these instruments.

For bayan, this is the sound of natural timbres in different tessitura, the ratio of sound when playing with the right and left hand (stereo sound effect), changing the timbre when turning on the register switches, nuance and, of course, the use of various playing techniques.

Pure timbres are used when soloing a melody or melodic sequence, with a fairly simple accompaniment.

Mixed timbres are formed from a combination of "pure" timbres of dissimilar instruments.

They have many combinations. The most typical of them are:

Duplication is the creation of a qualitatively different timbre by combining dissimilar instruments. When playing a melody in unison or in an octave.

Harmonic filling in the vertical - chord timbre.

There are also more subtle gradations of timbres that are well felt and applied by a musician who knows the art of instrumentation. This is the influence of the timbre of one instrument on the coloring of the sound of another, overcoming timbre incompatibility with the help of textural techniques, registration methods, stroke unity, etc.

The ratio of instruments in terms of dynamics and strokes is closely related to timbre relationships. It is even difficult to separate from each other, since in their unity they form the character of the sound.

The dynamics of an ensemble is always wider and richer than the dynamics of a solo performance. Even the most perfect instrument in this respect, the button accordion, when combined with other instruments, receives additional strength and variety of sound. But the dynamic possibilities of one instrument cannot be compared with the possibility of a band of an orchestra. The dynamic school, the richness and density of the sound of the ensembles are inferior to the orchestral ones, therefore the dynamic balance of the instruments, the very precise and prudent, economical use of the ensemble's loud resources acquires special significance.

The performance of this or that nuance in each part is inextricably linked with the instrumental ensemble, with the quality of the instruments, the peculiarity of the instrumentation and even the tessitura of the sound of other parts, but not to mention the semantic meaning of individual voices and their functions in the overall musical development of the entire work.

In order to mentally equalize the dynamic balance when the parties are equal, the instrumentalist must focus on the dynamically weaker instrument of the ensemble. In a mixed composition, such as a quintet of Russian folk instruments with percussion, it will be domra alto, rojo double bass (usually in episodes of a polyphonic warehouse, where the melodic line runs at the double bass on tremolo).

In ensemble performance, all existing types of dynamics are used:

sustainable

Gradual

stepped

Contrasting

The whole variety of strokes can be conditionally divided into two large groups of strokes characteristic of ensemble performance: similar - "equivalent strokes" and "complex" - a combination of different strokes at the same time.

The desire for the most expressive performance of each musical phrase leads to the choice of the most natural strokes for the musical image. In this case, when the musical fabric requires different instruments to merge into one sound, dashed contradictions need to be smoothed out and lead to a single sound result. Therefore, “equivalent strokes” present the greatest difficulty, since in this group the strokes may be different, but the sound result should be identical.

What lies at the basis of a unified understanding and organization of the sound of strokes? First of all, the form of sound and its main phases of development: attack, lead, removal and connection.

Sound attack. In this phase of the sound, the various techniques of playing the strings can be reduced to three main methods of sound extraction: from the string - a pinch, from a swing - a blow and tremolo from the string.

Adequate methods of sound attack for strings and button accordion will be:

Soft attack. The string tremolo from the string, the button accordion - elastic air supply and simultaneous pressing of the keyboards.

Solid attack. For strings - a pinch for an accordion - preliminary pressure with fur in a fur chamber and pressing a key.

Hard attack. For strings - a blow, for an accordion - preliminary pressure with fur in a fur chamber and a keystroke.

In the sound leading phase, strings have two types of sound: fading - after a pluck or strike, and stretching - due to trembling. On the button accordion, the first type is damped, associated with a decrease in pressure in the fur chamber. The accordionist adjusts to the nature and speed of the decay of the strings. In the second form, both for the strings and for the button accordion, all changes in sound are possible, in this phase of sound production. One of the characteristic difficulties here will be the merging of the intensity of the sound of stringed instruments (do not confuse intensity with tremolo frequency).

Removing sound. The phase of sounding is the most difficult in terms of coordination, since it is also necessary to take into account the previous stages of sound development. so, when attacking with a pinch and a blow without continuing this sound on a tremolo or vibrato, the sound of the strings is interrupted by removing the finger of the left hand. On the button accordion, it will be adequate to interrupt the sound by removing the finger, followed by the reaction of the fur, depending on the nature of the sound being removed. when attacking and leading the sound of tremolo strings, the most accurate will be picking up the sound on the button accordion due to the synchronous stop of the bellows and the removal of the finger.

Connection of sounds. It plays an important role in musical phrasing, in the process of intonation.

Depending on the nature of the music, the connection of sounds can be clearly demarcated, soft and almost imperceptible. An accurate understanding of the nature of the end of one and the beginning of another sound and their relationship will help the instrumentalist more consciously program the quality of intonation, part of which is the organization of articulation techniques on various instruments.

Accurate and complete use of the specific capabilities of each instrument, their most advantageous qualities, representation and hearing of the intended relationship between the instruments and the score. Contributes to the creation of a bright, colorful sound of the ensemble.

Work on skills

ensemble performance

The main goal of the ensemble's rehearsal work is to create an artistic image of the piece being performed. In the process of rehearsal work, the participants penetrate deeper and deeper into the essence of the music being performed, revealing new aspects of it, trying to find performing means that allow them to most fully and convincingly embody the idea in a sound that corresponds to the nature and figurative sphere of music.

The work is carried out both on the identification of general musical and specific ensemble means of expression, and on the formation of ensemble playing skills.

Let us dwell on the development of the following necessary ensemble playing skills:

Performance of melody and accompaniment in the ensemble;

Feeling of synchronous temporal (tempo, metric, rhythmic) coincidence;

The ability to timbre and dynamically highlight your part or, conversely, dissolve in the overall sound;

The distribution of attention, hearing all the parts of the ensemble as a whole and your own part.

The members of the ensemble do not immediately come to the same understanding and solution of artistic problems. In this rapprochement, the leading role belongs to the head of the ensemble. It is not enough that he be an educated musician and an excellent performer who can take on the role of leader in an ensemble. He must understand all the intricacies of instrumentation, for this composition, learn the expressive features of each instrument and their combinations, the individual performing features of the game and the creative aspirations of each participant, have pedagogical inclinations, etc.

Of course, this knowledge does not come immediately. Only a constant search, selection of specific means or repertoire peculiar to a given ensemble will give the leader a true hearing of the sound of the ensemble.

In its formation and development, the ensemble goes through several stages. Conventionally, they can be divided into primary, secondary and higher.

At the initial stage, the ensemble is a group of individuals with an equal level of musical education. Through a well-chosen and understandable argument regarding the expressive elements of music, as well as a vivid and figurative transmission of the nature of the work, the leader embodies his performing intention.

But the participants still do not always accurately understand the requirements of the leader and do not feel each other well enough in the ensemble.

The next stage of development is when the leader more clearly imagines the individual capabilities of each; its demands become more specific and focused. For the members of the ensemble, the instructions of the leader become understandable and natural, especially after successful performances.

There is a process of rapprochement in the artistic understanding of the performed compositions and in the feeling of the features of ensemble playing: the specifics of playing techniques on other instruments, their dynamic and timbre capabilities, etc.

The highest step is the ideal of ensemble performance. The participants have a common understanding of the laws of development of musical action, the unity of hearing the functions of each party, there is communication through music with each other and with the public.

The leader trusts the increased artistic level of the participants, supports and at the same time directs the initiative of everyone. For everyone, playing in an ensemble is a friendly and joyful creative work.

LITERATURE.

1. A. Pozdnyakov “The work of a conductor with an orchestra of Russian folk

tools." Moscow. GMPI them. Gnesins. 1964.

2. A. Alexandrov “Methods for extracting sound. Playing tricks and strokes

on domra ", materials for the course "Methods of teaching how to play the

three-string domra. Moscow. 1975.

3. A. Ilyukhin, Yu. Shishakov "School of collective play". Moscow.

"Music". 1981.

4. V. Chunin "Modern Russian Folk Orchestra". Moscow.

"Music". 1981.

5. "The development of the artistic thinking of the domrist." methodical

development for music school and art schools. Comp. V. Chunin. Moscow. 1988.

Russian Federation

Department of Education of the Administration of Novoshakhtinsk

municipal budgetary institution of additional education

"Center for the development of children and youth" of the city of Novoshakhtinsk

Methodological development of an accompanist

People's Branch Dyakonova S.G.

“Issues of forming a repertoire for

Russian folk ensembles.

2012

Collective playing of musical instruments is a powerful means of educating and teaching children about musical creativity. Playing in an ensemble disciplines, develops a sense of responsibility, activates musical abilities, engages and trains mental mechanisms responsible for subtle nervous activity.

In each school, you can find 8 - 10 students who have musical instruments at home. It can be button accordion, accordion, accordion. You can look for tools for the game from relatives, friends, neighbors. My experience in creating children's orchestras of folk instruments allows me to say that there is always a sufficient number of instruments. Moreover, almost rare, museum copies of button accordions, accordions, harmonicas emerge from storerooms and attics. Of course, many instruments require serious repairs, but that's another story.

So, from children who have musical instruments and want to learn how to play them, an instrumental ensemble is created.

After the minimum composition of the future team is selected, children with instruments and preferably with their parents are invited to the first lesson. At the introductory lesson, the leader sets tasks for the children, explains teaching methods, sets up the team for work, focusing on the systematic nature of classes, a conscientious attitude to homework. Naturally, to create such a team, a solid theoretical base is needed, in which everything is planned, painted, and sorted out.

It is good if the leader has a program for the orchestra (ensemble) with thematic planning, repertoire applications. Such a program is the basis of any training, and not a tribute to fashion. Guided by the provisions of this document, the teacher will be able to clearly establish, organize the rehearsal and concert activities of the team. At the first lesson, the leader talks about the musical instruments that will be part of the ensemble, demonstrates their capabilities. Of course, the leader must be fluent in these tools. After discussing the schedule of classes and solving the organizational issues that have arisen, you can proceed directly to the game. Here's what you need to learn in the first lesson:

1. Correct fit and position of the fingers on the keyboard.

2. Extraction individually and collectively of the note "to".

3. Playing the “do” note under the metronome at different tempos and with different durations.

4. Rational - correct work with fur when extracting sound.

And let this first meeting drag on, let it be at it that the children will understand that “not gods burn pots”, that learning to play the button accordion, accordion, accordion is quite real.

For a more complete mastery of the instrument by the children, the leader must plan and organize individual lessons. They should not be limited only to the learning of works. Here you can understand the issues of music theory, methods and principles of the work of novice musicians with instruments. This also includes all kinds of exercises for the development of musical ear and a sense of rhythm. And a prerequisite - individual lessons should not be boring, routine.

In organizing the accordion ensemble, I used the undeservedly forgotten method of learning to play the instruments "by hand". This method worked productively in ancient times. After all, almost all musicians playing folk instruments at the end of the 19th and beginning of the 20th century learned to play the balalaikas, domras, accordions precisely “from the hand” of a teacher or an experienced musician.

The famous populist musician V. Andreev successfully used this technique. His pupils quickly and efficiently mastered the instruments, conducted intensive concert activities, and achieved the highest mastery. Naturally, they unwillingly had to subsequently take up the theory of music. But the beginning was laid precisely with copying the teacher's game.

Learning to play musical instruments collectively “by hand” is good because the ensemble members very quickly intercept the melodies, manner, passages, and accents of the teacher. And literally in the 2-3rd lesson, they play their parts quite freely and steadily. This is an excellent incentive to move forward. After all, the result of his labors is very important for a child. And in this case, the result is obvious: from simple sounds, simple parts, as a result, a melody was assembled that sounded wide, spacious, melodious. Each member of the ensemble hears well both the general and his own playing. All this concentrated develops the musical abilities of children.

But what about musical notation? We will return to her. And children will perceive it as a necessity, as a real and powerful tool for mastering the button accordion. And after they play in the ensemble "by hand", it will be easier for them to cope with the "squiggles" of musical notation.

So, children with tools sit on chairs in a semicircle at a distance of about 50 cm from each other. This distance is necessary so that the teacher can have all-round access to each musician (front, back, side). And you don't have to move much.

Let's start learning a new piece. The members of the ensemble are seated strictly in parts. The teacher stands behind the first accordion player and shows the initial beat of the piece being learned. The show is repeated at a slow pace several times. The student repeats what he heard and saw, learns a fragment of a given melody. At this time, the teacher goes to the second student and, by analogy with the first one, shows what and how to play in this segment (measure). After showing the game of the first measure to all members of the ensemble (in parts), the leader returns to the first member, repeats what he has learned, correcting mistakes. Everyone is checked in advance one by one. Then the ensemble is given time, 2-3 minutes to memorize their parts.

If one measure of the work is learned by all participants without errors, the teacher offers to play what has been learned collectively, while he himself plays the main melody and the part of the left hand.

The learned fragment of the work is repeated by the ensemble several times for consolidation. At this stage, the teacher monitors the landing of students, the movement of the fur, the position of the fingers, the accuracy of the parties.

Similar work is carried out with subsequent measures until the very end of the piece.

As you can see, there is nothing complicated. Any music teacher at school can organize such an ensemble or even an orchestra, which in a couple of months will be playing pretty well.

Good luck! Listen at your leisure: