Creative and pedagogical aspects of activity. The tasks and specifics of the work of the accompanist at the Soloist Music School and the active participation of the accompanist in

Accompanist- the most common profession among pianists. It is needed literally everywhere: in the classroom, on the concert stage, in a choir, in the opera house, in choreography and in the teaching field. However, at the same time, many musicians look down on accompanists: playing from notes and “under the soloist” supposedly does not require great skill. But this is a wrong position. The soloist and pianist (accompanist) in the artistic sense are members of a single, whole musical organism. The art of accompaniment is an ensemble in which the piano plays a huge, by no means an auxiliary role, which is not limited to purely service functions of harmonic and rhythmic support for the partner. It is correct to raise the question not about accompaniment, but about creating a vocal or instrumental ensemble.

The art of accompanism is not accessible to all pianists. It requires a special calling, high musical skill and artistic culture. Many famous composers were involved in accompaniment. Vivid examples of collaboration are S. Rachmaninov with F. Chaliapin, N. Medtner with K. Schwarzkopf, M. Mussorgsky with M. Leonova. The great Soviet pianists: K. Igumnov, A. Goldenweiser, S. Richter, G. Neuhaus, S. Ginzburg and others, considered it useful to act as accompanists - ensemble players. Currently, competitions have begun to be held - festivals, at which, in addition to competitions between musicians, such problems as “the discrepancy between the most difficult tasks facing the accompanist (his role in ensemble work with the soloist, his contribution to the final result, his importance in the development of the musician), are discussed. and the place given to accompanists, as well as the disproportion in the level of payment of musicians.”

A lot of practical advice for accompanists is contained in J.'s book. Moore "Singer and Accompanist". An accompanist is “a pianist who helps pianists and instrumentalists learn parts and accompanies them at rehearsals and concerts.” And the activity of an accompanist implies only concert work, while the concept of an accompanist includes something more: learning their parts with soloists, the ability to control the quality of their performance, knowledge of their performing specifics, the ability to suggest a way to correct shortcomings.

The activities of an accompanist combine creative, pedagogical and psychological functions. To be a good accompanist, a pianist must have the following qualities: be good at the piano, both technically and musically. A bad pianist will never become a good accompanist, just as a good pianist will not achieve great results in accompaniment until he masters the laws of ensemble relationships, develops sensitivity to his partner, and feels the inseparability and interaction of the parts of the soloists and the accompaniment. A good accompanist must have general musical talent: a good ear for music, imagination, artistry, and the ability to realize the author’s plans. The accompanist must learn to quickly master the musical text, covering the entire score, distinguishing what is essential from what is less important.

The professional activities of an accompanist require the following knowledge and skills:

First of all, the ability to sight-read a piano part, understand the meaning of the sounds embodied in the notes, their role, and in the construction of the whole; when playing the accompaniment, see and imagine the soloist’s part, grasping in advance the individual originality of his interpretation, and with all performing means contribute to its most vivid expression; skills of playing in an ensemble; knowledge of the basics of vocals: voice production, breathing, articulation, nuances; be very sensitive in order to be able to quickly suggest words, compensate where necessary for tempo, mood, character, and also, if necessary, quietly play along with the melody; ability to transpose a musical text of average difficulty within a fourth.

When transposing the accompaniment to simple romances, the pianist does not have to play the entire texture; it is necessary to select the main components. Some freedom is acceptable while maintaining the harmonic basis, rhythmic structure and the obligatory preservation of the bass line. The main condition for correct transposition is the mental reproduction of the piece in a new key. When transposing by a semitone, it is enough to mentally mark down other key signs. Transposition skills training is carried out in the following sequence: first for an increased prima, then for a minor and major second, then for a third. When transposed a third up, all notes in the treble clef are read as if they were written in the bass clef, with the notation being two octaves higher. When transposed down a third, all notes in the bass clef are read as if written in a treble clef, but marked two octaves lower.

The accompanist's tasks when sight reading have specific features, taking into account the presence of a soloist. The accompanist must quickly and accurately support the soloist, create a unified concept for the performance of the work, support in the climaxes, but remaining a sensitive and always unnoticeable assistant. The development of these skills is possible with a good sense of rhythm and a sense of rhythmic pulsation, the same for all members of the ensemble. Moreover, the more participants (choir, orchestra), the pianist becomes the organizer of the ensemble, taking on the function of conductor.

To fluently sight-read an accompaniment, a pianist must be fluent in playing various types of piano textures. Accompaniment that includes a vocal part requires special attention, since the freedom of interpretation of the vocal part by the soloist must be taken into account.

The accompanist needs to accumulate a large musical repertoire in order to feel the music of different styles. A good accompanist shows interest in learning new music, becoming familiar with the notes of certain composers, listening to them in recordings and at concerts.

The specificity of the accompanist's playing is that he must find meaning and pleasure in not being a soloist, but one of the participants in the musical action, and a supporting participant. The solo pianist has complete freedom to express his creative individuality, while the accompanist has to adapt to the soloist’s performing style.

To set the tasks of interest in the musical and creative activity of the accompanist, knowledge in his subject may not be enough. You need deep knowledge in the disciplines of the musical theoretical cycle (harmony, form analysis, polyphony). Versatility and flexibility of thinking, the ability to study a subject in various connections, awareness in related areas of knowledge - helps the accompanist process the available material.

An accompanist must have a number of positive psychological qualities. The accompanist's attention is multi-layered: it must be distributed not only between his own two hands, but also attributed to the soloist - the main character.

Auditory Attention is occupied by the sound balance, which represents the basis of ensemble music-making - what matters is what and how the fingers do.

Ensemble Attention follows the embodiment of the unity of the musical concept. Such tension of attention requires a huge expenditure of physical and mental strength.

Mobility and speed of reaction are very important for the professional activity of an accompanist. He is obliged, without ceasing to play, to suggest the musical text to the soloist, to pick up the soloist in time and bring the work to its logical conclusion. Will and self-control are qualities necessary for an accompanist. If musical problems arise, he must firmly remember that it is unacceptable to stop or correct his mistakes, as well as to express annoyance with facial expressions or gestures.

The functions of an accompanist working in an educational institution with soloists (children) are largely pedagogical in nature, since they often come down to learning a new repertoire, the ability to correct the singer regarding the accuracy of intonation and other subtleties of performance. This pedagogical side of the accompanist's work requires the pianist to have specific skills and knowledge, pedagogical flair and tact. The role of internal hearing in accompanist work is increasing. “The accompanist’s mental representation of intonation must be very strong in order to obtain the value of the unshakable criterion of the singer’s sound in his intonation,” N. Kryuchkov rightly notes.

A singer’s inaccurate intonation depends on many reasons related not only to hearing, but to the lack of certain vocal skills. Insufficiently high position of the sound, wide vowel, weakened or forced breathing, sometimes the physical condition of the singer - these are the reasons leading to intonation inaccuracy. Teacher and accompanist E. Shenderovich dwells in detail on the methods of teaching an accompanist and a singer intonationally and rhythmically difficult parts of a melody.

One of the serious problems for a beginning singer is the rhythmic side of performance. If a student does not immediately perceive a complex rhythm, it is necessary to count out loud or conduct, feel the downbeat, the main pulse of the work, and achieve evenness of sound.

The accompanist warns against meaningless gestures while singing, monitors the implementation of correct, non-shallow breathing, which helps in singing the cantilena. At the same time, work is underway on the length of vowels. As F. Chaliapin said: “Vowels are the soul of singing. The vowels are the river, the consonants are the banks.” The soloist must sing the vowel until the last moment, and mentally assign the consonant adjacent to it to the next vowel. This kind of training helps you sing legato. At first, diction suffers, but you have to go through this stage. When a student learns to sing without missing a single vowel, he will be able to pay more attention to the consonants, which will not tear the cantilena, but will decorate it.

When starting to play, the accompanist must look and hear much ahead, so that the real sound follows the visual and internal perception of the musical text. When working with a vocalist, the accompanist must delve into the musical and poetic text, because the emotional structure and figurative content of the vocal composition are revealed not only through music, but also through the word. During the work, one must take into account that the sound of the solo part depends on the accurately found piano sonority. The rough knocking sound of the accompaniment causes the vocalist to force the sound. The soft “singing” of the piano accustoms the soloist to correct sound management and weans him from “screaming.”

The work of an accompanist is structured differently depending on the singer’s ability and the structure of his singing apparatus. You can first sing the student with several exercises, you can sing vocalises. Analysis of a new work begins by phrases and individual sentences. But sometimes it is useful to perform the entire piece, then point out the mistakes to the student and get them corrected.

The accompanist, under the guidance of a teacher, teaches the singer to correctly distribute the power of sound throughout the entire song or romance. For a beginning vocalist, singing piano is difficult; it is difficult to sing both on the breath and on the piano. A common mistake for vocalists is to sing the last sound of a word or phrase forte, even though it is often an unstressed syllable or a weak beat.

A feature of vocal music is the presence of verbal text. Often a student sings correctly, but the words are dull and inexpressive. One of the reasons is poor diction. Words must be colored with thought and pronounced very clearly. It is necessary to awaken the student’s imagination, penetrate into the content of the work, use the expressive capabilities of the word, well pronounced and “colored” by the mood of the entire work.

The accompanist is entrusted with the responsible task of introducing the student to various musical styles and cultivating his musical taste. Establishing creative, working contact with a vocalist is not easy, but human and spiritual contact is needed. When working with an accompanist, complete trust is necessary. For a special class teacher, the accompanist is the right hand and first assistant, a musical like-minded person. For a soloist, an accompanist is a confidante of his creative endeavors, an assistant, a friend, a mentor, a coach and a teacher. Not every accompanist may have the right to such a role. It is won by the authority of solid knowledge, creative composure, will, perseverance, and responsibility in achieving the desired artistic results when working together with soloists and in one’s own musical improvement.

Useful tips for accompanists working with vocalists and detailed performance analysis of vocal works by Russian composers are contained in the articles by L. Zhivov, T. Chernyshova, E. Kubantseva. These authors aim to help the young accompanist’s work on the embodiment of artistic images of works, and to outline options for their interpretations.

Used Books

Zhivov L. About the work of an accompanist. Sat. articles, ed. M. Smirnov, S-P, Music. 1974 Kryuchkov N. The art of accompaniment as a subject of study. M. Music. 1961 Kubantseva E. Concertmaster class. M. Academy. 2002 Moore J. Singer and accompanist. M. Raduga. 1987 Chernyshova T. About the work of the accompanist. M. Music. 1974 Shenderovich E. In the accompanist class. M. Music. 1996

“Accommodating is a vocation or a place of work

Plan

1. Accompanistry as a phenomenon of musical and creative activity.

2. Philosophical and aesthetic aspect of accompanist creativity.

3. Accompanist in the system of moral education.

4. Performing activities of the accompanist:

Performing tasks of the accompanist;

Reading music text from a sheet;

Specifics of performing accompaniment in vocal and instrumental works.

5. You are water.

6. Literature used.

The role of the accompanist in the educational process of a music school.

Creativity is present in any type of activity, in any specialty. However, it acquires the most important significance in the profession of an accompanist.

A special feature of accompanist activity is its real-life multidimensionality, which predetermines the need to solve various creative problems associated with musical performance.

The psychological, philosophical, aesthetic and cultural aspects of the activity are of considerable interest. They play an important role in the accompanist’s work, exerting a huge influence on musical thinking and imagination, musical memory, aesthetic and moral aspects of the worldview of the performing musician.

Considering accompanistry as a phenomenon of musical
creative activity it should be noted that the accompanist
performance is the most important type of practical activity
musician. It most clearly expresses the personality of the accompanist as
a person who can create. Performing makes it possible to
fully judge the individual characteristics of the accompanist. At the core
performance activity lies in the principle of interpretation of musical
works. Interpretation maximally develops creative independence, actualizes past experience, and creates associative connections.
In relation to the activities of an accompanist, the creative process is
movement from the idea of ​​a musical work to its implementation. Implementation
creative concept is organically connected with active search, which
manifests itself in disclosure, adjustment and clarification, together with the soloist,
artistic image of the work, embedded in the presentation and musical notation
text. On the one side- specificity accompanist is that he does not have
opportunities to realize your own performance plans.
The dominant role belongs to the soloist. But on the other hand, the possibility
emotional and figurative interpretation of the musical text of the work
allows the accompanist to reincarnate the entire dramaturgy of the musical form, to become the creator of his own interpretation of the work being performed, and in this the accompanist acts as a co-author of the composer. And this fine lineyou definitely need to feel it.

We gradually approached the concept of creativity. In the broad sense of the wordcreativity can be represented as a universal category that revealsthe essence of the highest level of human development, a continuous conditionhuman improvement. Creativity is creation, discovery of something new, a source of material and spiritual values. This is an active searchunknown, deepening our knowledge, giving a person the opportunity to understandperceive the world around you and yourself in a new way. Elements of creativityfind a place in any human activity and are integral component of the educational process in a music school. Asmastering the performing arts opens up wide opportunitiesindependent creative search. And since the creative taskpsychologically never has an unambiguous solution, then the accompanist belongsimportant role in the educational process - unnoticed by the studentawaken creative imagination, creating with your performance a high-quality artistic environment for creating a musical and artistic image inensemble, which contributes to the success of the soloist’s performing activities.Through his performance, the accompanist helps the soloist listen tomusical language of composition, and this is the process of searching for the meaning of artisticnarrative, revealing its aesthetic value. The basis for living figurative perception is created by the fact that in an artistic imageIn a piece of music there is potentially an individually unique combination of emotions and feelings. This is confirmed in studies of the psychological characteristics of musical perceptionB.M. Teplova. He noted that “the perception of music comes through emotions, throughemotions we understand the world. Music is emotional cognition." AlsoA.D. Alekseev in his book “Methods of teaching piano playing” writes:“Truthful recreation of an artistic image presupposes not only fidelitythe author's text, but also the emotional richness of the performance. A lifeless game, not warmed by the warmth of real feeling, does not captivate the listener.”Those. It is not enough to memorize a piece thoroughly, but also to “experience” it internallyhim, to become deeply involved with him and feel his beauty. Thus,interpreting these works, it follows that one of the most important tasksaccompanist activity is fruitful work with the soloist(students), during which the formation and development ofmusical and general abilities of the student, emotional, sensory qualities

Philosophical and aesthetic aspect of accompanist creativity.

Accompanist creativity is the central concept of the aesthetics of performing arts. Word accompanist contains the originality of artistic performance, an individual interpretation of the author's intention. Associated with a unique rethinking of the author's musical text, it acts as a special artistic process as an independent creative phenomenon. Accompanistry is a particularly significant type of musical performance in the cultural and value sense. Considering the specific features of musical performance, musicians assign a special role to the personality of the accompanist as an interpreter of the musical composition.

There are several large-scale levels in accompanist performance: mastering the meaning of individual melodies and intonations through awareness and disclosure of their semantic meaning; transition from semantic specification to ideological and artistic generalization; design of a specific artistic concept. The complexity of the accompanist

activity is determined by its multifunctionality. The accompanist creates his own interpretation of the composer's work, selects a version of a certain sound embodiment of this interpretation, conveys the artistic content of the musical work to the listening audience, captivates and interests the soloist and the listener with his art. The accompanist is both an actor and a director of the performance.

Concertmastership occupies an important place in the systemmoral education. It contributes to the formation of aesthetic taste and aesthetic culture, aesthetic perception and aesthetic feeling in the performer and listener. The effectiveness of the educational role of accompanist activity, as well as the direction and nature of its social impact, seem to be the most important criteria that determine the social significance of the accompanist art and its place in the system of spiritual and cultural values.

The study of the educational aspect of accompanism has a long history, however, the changing conditions for the formation of musical art, the development of means of musical influence and, as a consequence, the ongoing changes in the musical consciousness of modern people require more and more attention to this problem.

Why is accompanist art needed? The eternal question of musical aesthetics, because it is always relevant - in every era and in every social environment - and it is always solved in a new way. Many believe that the main goal of accompanism is to provide listeners with aesthetic pleasure, either through its beauty, or intellectualism, or emotionality. Consequently, the task of aesthetic education is seen as teaching a person to enjoy it. But can we limit ourselves to just this? Of course not, because the goal of an accompanist’s activity is much more significant and serious - to make a person higher spiritually. Aesthetic education cannot be reduced only to the formation of good taste; it must form good thoughts and morals. In the formulation of “aesthetic education,” the word “aesthetic” does not mean a goal, but a means. This is the main essence of the question and it applies not only to accompanism, but also to art in general.

The concept of “aesthetics” means “sensory perception” or “the study of sensations,” just as the concept of “ethics” means the “study of behavior” and “logic” the “study of knowledge.” Aesthetics is the science of beauty. The main problem considered by aesthetic science is the study of the nature of beauty and its specific essence. But aesthetics is not just the “science of art,” but the science of the essence and most general laws of artistic creativity, including that of the accompanist. Art concentrates universal human philosophical values. At the center of art and philosophy are problems associated with revealing the nature of man and his relationship to the world around him.

At the present stage of development of the theory of musical and aesthetic education in the educational process, the urgent need of society is to know how and in what ways a musician’s work enters the consciousness of the listener, how it becomes the property of his personal experience. The solution to this problem of musical aesthetics directly relates to the formation of the spiritual world of the student in the process of communication with the accompanist’s creativity. It is the problem of the place and role of the accompanist in the formation of the spiritual world of the individual that has been most actively studied by scientists recently, because in the process of communicating with musical works of different genres, the aesthetic consciousness of the individual is formed, which in turn is in a corresponding connection with all aspects of the spiritual world of a person. The purposeful use of the educational power of accompanist skill is to promote the comprehensive and harmonious development of the individual. Enrich her spiritual world. The spiritual world in philosophical literature is considered as a synthesis of the rational (G. Hegel), emotional-sensual (B. Spinoza) and volitional spheres (A. Schopenhauer).

The art of an accompanist is aimed at helping the performer express his understanding of a musical work in a figurative and emotional form. When performing music together, it is equally necessary to be able to get carried away by the partner's intentions, understand his intentions and accept them, test during performance there is not only a creative experience, but also creative empathy, which is by no means the same thing. Natural empathy arises as a result of continuous contact between partners, their mutual understanding and agreement.

Perceiving the accompanist’s art, which embodies high moral ideas, the listener almost every time experiences a greater or lesser influence of his will on all spheres of his spiritual world.

Performing activities of an accompanist

1. Performing tasks of the accompanist. Creative activity is especially manifested in performance. Professional performing qualities are based on a combinationpurely pianistic skills, musical theoretical knowledge, abilitycomprehend the meaning of music and embody it in a specific sound. An important condition for professionalism is also a performing culture, whichpresupposes a reflection of his aesthetic taste, breadth of outlook, a conscious attitude towards musical art, readiness for musicaleducational work. In my professional activitiesthe accompanist constantly has to act as a performer. Therefore, it is necessary not only to be fluent in the instrument and musicalliterature, but also the ability to convey musical material to the audience. Duringconcert performances, the accompanist takes on the role of presenter and, following developed concept, helps the partner, instills confidence in him,trying not to suppress the soloist, but to preserve his individuality.

Performing activity is organically connected with the soloist's part. The accompanist helps to overcome all the difficulties that arise in the process of collaboration, namely: problems of “breathing,” phrasing, sound control, and rhythmic features of the work. During the performance, the accompanist provides support for the soloist, his harmonic basis and textural richness. It should be emphasized the great importance of the unity of musical views and performance intentions among performers. The accompanist needs to know the soloist's part, since the piano accompaniment and the solo part are inseparable from each other, carefully analyze the features of the partner's part, study its melodic line, the meaning and dynamics of development, the accuracy of phrasing, analyze the form of the work, create a certain coloring of the sound, comprehend the intent of the musical work .

The performing activities of the accompanist are very diverse. There are many different forms of performing practice: performing in concerts, participating in competitions... All this gives the right to talk about the breadth of the range of professional tasks facing the accompanist pianist. Let us turn to the characteristics of the performing process itself in the art of accompanism. This is: the formation of a performing concept and its implementation.

The process of developing a performance plan begins with familiarization with the composer’s musical text and its exact reproduction on the piano, individual work on the accompaniment part, including: learning the piano part, working out difficulties, correct execution of decorations, observing “backlashes” (caesuras - moments should also be reflected in the piano accompaniment of a musical work taking the breath of the soloist), selection of rational, convenient fingering, ability to use the pedal, sense of pulse, expressiveness of dynamics, precise phrasing, professional touch. At the same time, the establishment of strokes and tempo corresponding to the content of the work. An attentive attitude to musical rhythm and mastery of the basics of piano culture are essential. The accompanist's success will be complete only after a carefully worked and corrected piano part.

From the very beginning, you should bring the sound of the musical instrument as close as possible to the sound of the soloist's part. To do this, you need to play, trying to emphasize the peculiarities of timbre coloring, the quality of the stroke, and monitor the pedal. Knowledge of the original presupposes the ability to analyze the difficulties encountered.

Then follows a new stage in the creative work of the performer -aesthetic evaluation of a musical work. During this period, one's ownattitude towards the composition, the performed work is compared with the system their views regarding artistic perfection. Aestheticassessment is a kind of emotional and figurative reflection of what was heard. Sherepresents a special form of co-creative activity of the performer.Of great importance is the musical perception through whichemotional reaction to the sound of music. It is the aesthetic assessment of a musical composition that will help the accompanist approach the next task -creating a performing interpretation.

In the process of musical perception, the accompanist develops his own performance plan. The musical and artistic idea containing the performing concept is the basis of the musical text of the work. This idea directs the accompanist to use a certain set of performing means of expressiveness that contribute to the most complete disclosure of the concept.

Creation of performance concept- this is a vision of a musical work by designing one’s individualized performing image within the framework of a genuine image, by creatively recreating one’s own performing thought in the field of the composer’s thought. Such a creative process ends in the mind of the interpreter with the concept of an ideal product of performing activity.

It is safe to say that an accompanist is an interpreter of a musical composition. Interpretation is present both in performing activity and in the formation of a performing plan, as well as in the process of its implementation. The result of the composer's creativity appears in the form of a musical and artistic interpretation of the work. Comprehending the composer's intention, the accompanist tries to convey his idea of ​​the ideological and artistic content of the musical composition to the soloist and at the same time helps him (the soloist) accurately convey his plans to the listening audience. Working with a soloist requires impeccable command of the piano part, a combination of musical and performing actions, the presence of intuition, knowledge of the soloist’s part, and the accompanist’s “retreat” to the background in relation to the soloist. A quick reaction plays an important role, including the ability to listen to the soloist when playing music together. Constant attention and utmost concentration must be maintained in equal measure. In exceptional cases, the accompanist adjusts the sound during the performance.

The rehearsal work of an accompanist is much more difficult than that of a soloist. And this is logical. After all, he is responsible not only to the listener, to the author of the composition, to himself, but, finally, to his partner - the soloist. Mastering a piece of music does not at all guarantee that everything will go smoothly during the concert. In practice, quite often one encounters unfortunate cases of breakdowns during a performance, so the accompanist must be well prepared for the public performance of the work already during the rehearsal period. It is known that before a concert a nervous environment can arise. Therefore, you need to mobilize all your strength, tune in psychologically, be demanding of yourself,

extremely attentive and at the same time maintaining performing individuality.

The second part of the performance process is embodiment of creativityplan, creation of a single musical and artistic image based on one’s own interpretation of the work. Problems arise related to the correct and accurate communication of the composer's idea to the audience and the ability to subjugate the audience. It is now that the accompanist needs emotional uplift, creative will and artistry. Emotional state, temperament and inspiration, of course, influence the performing process. The process of realizing the performance concept includes the use of various dynamic shades (within the framework presented by the composer), contributing to the enrichment and transformation of musical sound. Expressive performance is an important task in the work of any musician. The use of dynamic shades is determined by the internal content and nature of the music, and the structural features of the musical composition. Dynamics play a huge role in the performing arts. One of the main conditions for artistic performance is the logic of the relationship of musical sonorities, violation of which can distort the content of the music. It should be noted that dynamics, being inextricably linked with agogy, phrasing and articulation, largely determines the individual performing style of the accompanist, his aesthetic orientation, and the nature of interpretation.

The performance of the accompaniment should also be aimed at meeting the requirements of a methodological nature:

Achieving the correct distribution of sonority and ratio of voices, namely: expressive performance of the melodic line, a sense of the harmonic basis of the bass, differentiated sound of harmonic figurations;

Clarification of the dynamics and timbre of sound at the moment of transition from the introduction to the accompaniment;

The correct relationship between the dynamics, tempo, and nuances of the accompaniment part and the sound character of the solo part.

There are rules that must be followed:

Planning work on more difficult works in advance, in order to avoid poor results and breakdowns, leading to fear of the public;

Constant attention required when speaking;

A feeling of confidence in sufficient preparation for the concert;

Reasonable distribution of one’s forces before a performance, favorable psychological and physical mood of the musician.

Concert performance - the result and culmination of all the work done. The main goal is, together with the soloist, to reveal the musical and artistic intent of the work with the highest culture of performance of the work. In order for the performance to be successful, the accompanist needs to: mobilize spiritual and physical strength, have an appropriate internal mood, be able to stay on stage, constantly control himself, remember

that he is also responsible for the performance of the soloist's part. To love and show interest in performing activities, to enrich one’s own piano repertoire, including ancient music and works by modern composers, to understand music of different eras and styles, and to promote one’s art.

2. Reading music text from a sheet. A special role in accompanist practice belongs to reading the musical textfrom the sheet. Requires the ability to continuously perform, perceivemusical material in general, clarity in foreseeing the line of development of the musical image, understanding the nature of the composition, being extremelyattentive to changes in tempo, tonality, texture and rhythmic changes.The accompanist must be able to insert notes into the musical text without distortingthis content of the work. Skills are very important when sight readingsimplification of the composer's text and selection of the most important things. For this you needinstantly find harmonic fundamentals, convenient fingering, transformharmonic figurations into chords. Textural relief is necessary inpractice. Various techniques are used in accompanist practicesimplification of musical text:

Facilitating or moving chords;

Converting expanded harmonic functions into fundamental harmonic functions;

Transformation of rhythmically complex sequences into
elementary pulsation. We must not forget that any relief is acceptable
only on condition that the ideological and figurative meaning and content are preserved
work, intonation and rhythmic structure of the soloist’s melody,
harmonic basis of the work. Improving sight reading techniques
helps to replenish your repertoire with new compositions, expand
musical horizons.

3. Specifics of performing accompaniment in vocal and instrumental works. Specifics of performing accompaniment in diverse workslies in the fact that when performing them, the accompanist performs completely opposite functions and sets goals that differ from each othertasks. The performance of the accompaniment part depends on what kind ofthe functions are performed by the accompanist, and hence what role does the accompaniment play?and what position he occupies: subordinate, equal or leading. Mainthe difference is that in vocal works preference is given toas a rule, to the soloist (singer) in contrast to instrumentalists, where the soloist(first) and accompanying (second) games are almost equal. Happens quite oftenand so that the accompaniment part takes on a dominant role

There is a sound problem. The nature of the sound of wind, string, and folk instruments is diametrically opposed to the piano. The sound generated by the performer's touch on the string is capable of development. While the piano sound, which arose as a result of the hammer hitting the string, fades away. Therefore, crescendo on long notes, which is quite common among domrists and balalaika players, wind players, is, unfortunately, impossible to achieve on the piano. The accompanist can compensate for these inevitable losses only by constantly overcoming the hammer-like, percussive nature of the piano sound. If in choral works the sound should be vocal, then when performing works it is extremely important for instrumentalists to know the timbres of the instruments of a folk, symphony, and pop orchestra and the ability to convey the entire multi-colored palette of the orchestra on the piano. In the orchestra, each instrument has its own characteristic sound, strokes, and color. The difficulty here is that the nature of the sound of most instruments is identical to the vocal one (except for the percussion group), that is, again, the opposite of the piano. It depends on the accompanist’s imagination whether he can clearly imagine and depict the “colors” of the instruments on the piano. If he can, then the performance will sparkle with bright colors, but if not, then the work will turn out flat, boring, “one-dimensional.” When performing orchestral transcriptions, more attention should be paid to the left hand in order to give sonority, greater depth and volume. This is especially true for culminating tuttis and approaches to them. Pianists, as a rule, have a better developed right hand; it most often dominates the left, “leading” it. An accompanist playing an orchestral arrangement must have a completely different feeling. Here the left hand is almost “more important” than the right, it is the basis, the foundation. As for the various timbres, the most difficult can be considered the embodiment of the specific sonority of string instruments on the piano. It is necessary to try, if possible, to soften the attack of the sound; touching the keyboard should be done without rigidly fixing the hand and fingers, but rather by “stroking” the keys, softly when playing melodic and harmonic turns.

When playing chords, fixing the fingers and hand is almost the first necessity, since the concentration of the fingers when playing a chord gives the illusion of the necessary sonority. Staccato is performed somewhat softer than the usual staccato on the piano, as if with a non-legato stroke. The use of the pedal should be strictly limited. Often the timbre coloring of a particular orchestral group in its incarnation on the piano depends on the register of the keyboard, on the place where this group or solo instrument is presented in the clavier. It is possible that a technique suitable, say, for a small octave, will not be so effective for another octave. So, the desire to “orchestrate” the piano is the main task of the accompanist. The accompanist must know the symbols of the strokes. Basically, these are the same notations as in piano literature: legato, staccato, tenuto, accents. But in their performance there is a difference from the piano ones. Accents should not be excessive, staccato should be light.

Thus, the accompanist must have truly universal qualities: to be a good pianist and ensemble player, to have conducting qualities (to be able to obey and subjugate), developed musical thinking, figurative and auditory representation (to imagine the timbres of orchestra instruments, timbres of voices and convey them with his playing), fantasy. Be able to play a miniature subtly, and a large piece on a large scale, with a good sense of form and rhythm. It should be remembered that the accompanist will almost always be performing as a soloist or orchestra. This is the appeal of this work, but this is also its difficulty.

Summarizing all of the above, we can do conclusion.

The accompanist has to adapt his vision of the music to the performing style of the soloist. At the same time, it is even more difficult for an accompanist to maintain his individual appearance - after all, violence cannot lead to creative results. And the result is necessary; The listener expects the performers to embody a single concept - meaningful and convincing. Consequently, you need to develop special sensitivity, respect, tact in relation to the intentions of your partner, but at the same time be a “musical pilot” - be able to navigate the “performing ship” through all possible reefs and convey to the listenera unified concept of the work.

- Ability to blend in with the intentions of the partner and naturally, organically enter into the concept of the work. The convenience that a sensitive accompanist partner provides to the soloist is the main condition for working together with the soloist. When performing, the accompanist must "dissolve" in the intentions of his soloist, even if his momentary state somewhat “leads” away from the previously prepared interpretation. Only then can you analyze what happened on stage.

The ensemble cannot take place if the accompanist does not know specifics tool your partner - the laws of sound production, breathing, technique.

It is necessary to distinguish activities of an accompanist and accompanist. The activity of an accompanist usually implies only concert work, while the concept of “accompanist” includes something more: learning the repertoire with a soloist, knowledge of difficulties and the reasons for their occurrence, the ability to suggest the right path to correcting certain shortcomings, etc. Thus, in accompanist activities are combinedpedagogical, psychological, creative functions. The creative state of the soloist almost always depends on the skill and inspiration of which. During climaxes, the accompanist must be especially attentive to support the soloist. For an insensitive accompanist resembles “a heavy cart that a horse drags with difficulty. The cart prevents her from walking and burdens her movement.” Also, the accompanist can interfere with the implementation of the soloist’s intentions.

The sensitivity of the accompanist is always appreciated by the soloist. Each soloist is always grateful to his partner, because without his support not a single artistic intention can be realized. And then the merging of two artistic intentions occurs, and then that miracle of art arises, which can be called a genuine ensemble.

Literature

1. Current problems of history, theory and methodology of musical performing arts. Digest of articles. Issue 1. editors and compilers: Renzin V.I., Umansky M.A. Ekaterinburg, 1993.

2. Andreeva L. Methods of teaching choral conducting. L., 1972.

3. Gottlieb A. Fundamentals of ensemble music. M., 1971

4. Lyublinsky A. Theory and practice of accompaniment. L., 1972. Z. Neuhaus G. On the art of piano playing. ML982.

6. Shenderovich E. About overcoming pianistic difficulties in claviers. Accompanist tips. M., 1969.

7. Shenderovich E. In the accompanist class.

Creative and pedagogical aspects of activity
accompanist of the children's art school

Accompanist- the most common profession among pianists. It is needed literally everywhere: in the classroom, on the concert stage, in a choir, in the opera house, in choreography and in the teaching field. However, at the same time, many musicians look down on accompanists: playing from notes and “under the soloist” supposedly does not require great skill. But this is a wrong position. The soloist and pianist (accompanist) in the artistic sense are members of a single, whole musical organism. The art of accompaniment is an ensemble in which the piano plays a huge, by no means an auxiliary role, which is not limited to purely service functions of harmonic and rhythmic support for the partner. It is correct to raise the question not about accompaniment, but about creating a vocal or instrumental ensemble.

The art of accompanism is not accessible to all pianists. It requires a special calling, high musical skill and artistic culture. Many famous composers were involved in accompaniment. Vivid examples of collaboration are S. Rachmaninov with F. Chaliapin, N. Medtner with K. Schwarzkopf, M. Mussorgsky with M. Leonova. The great Soviet pianists: K. Igumnov, A. Goldenweiser, S. Richter, G. Neuhaus, S. Ginzburg and others, considered it useful to act as accompanists - ensemble players. Currently, competitions have begun to be held - festivals, at which, in addition to competitions between musicians, such problems as “the discrepancy between the most difficult tasks facing the accompanist (his role in ensemble work with the soloist, his contribution to the final result, his importance in the development of the musician), are discussed. and the place given to accompanists, as well as the disproportion in the level of payment of musicians.”

A lot of practical advice for accompanists is contained in the book by J. Moore “The Singer and the Accompanist”. An accompanist is “a pianist who helps pianists and instrumentalists learn parts and accompanies them at rehearsals and concerts.” And the activity of an accompanist implies only concert work, while the concept of an accompanist includes something more: learning their parts with soloists, the ability to control the quality of their performance, knowledge of their performing specifics, the ability to suggest a way to correct shortcomings.

The activities of an accompanist combine creative, pedagogical and psychological functions. To be a good accompanist, a pianist must have the following qualities: be good at the piano, both technically and musically. A bad pianist will never become a good accompanist, just as a good pianist will not achieve great results in accompaniment until he masters the laws of ensemble relationships, develops sensitivity to his partner, and feels the inseparability and interaction of the parts of the soloists and the accompaniment. A good accompanist must have general musical talent: a good ear for music, imagination, artistry, and the ability to realize the author’s plans. The accompanist must learn to quickly master the musical text, covering the entire score, distinguishing what is essential from what is less important.

The professional activities of an accompanist require the following knowledge and skills:

• first of all, the ability to sight-read a piano part, understand the meaning of the sounds embodied in the notes, their role, and in the construction of the whole;
• when playing the accompaniment, see and imagine the soloist’s part, grasping in advance the individual originality of his interpretation, and with all performing means contribute to its most vivid expression;
• skills of playing in an ensemble;
• knowledge of the basics of vocals: voice production, breathing, articulation, nuances;
• be very sensitive in order to be able to quickly suggest words, compensate where necessary for tempo, mood, character, and also, if necessary, quietly play along with the melody;
• ability to transpose a musical text of average difficulty within a fourth.

When transposing the accompaniment to simple romances, the pianist does not have to play the entire texture; it is necessary to select the main components. Some freedom is acceptable while maintaining the harmonic basis, rhythmic structure and the obligatory preservation of the bass line. The main condition for correct transposition is the mental reproduction of the piece in a new key. When transposing by a semitone, it is enough to mentally mark down other key signs. Transposition skills training is carried out in the following sequence: first for an increased prima, then for a minor and major second, then for a third. When transposed a third up, all notes in the treble clef are read as if they were written in the bass clef, with the notation being two octaves higher. When transposed down a third, all notes in the bass clef are read as if written in a treble clef, but marked two octaves lower.

The accompanist's tasks when sight reading have specific features, taking into account the presence of a soloist. The accompanist must quickly and accurately support the soloist, create a unified concept for the performance of the work, support in the climaxes, but remaining a sensitive and always unnoticeable assistant. The development of these skills is possible with a good sense of rhythm and a sense of rhythmic pulsation, the same for all members of the ensemble. Moreover, the more participants (choir, orchestra), the pianist becomes the organizer of the ensemble, taking on the function of conductor.

To fluently sight-read an accompaniment, a pianist must be fluent in playing various types of piano textures. Accompaniment that includes a vocal part requires special attention, since the freedom of interpretation of the vocal part by the soloist must be taken into account.

The accompanist needs to accumulate a large musical repertoire in order to feel the music of different styles. A good accompanist shows interest in learning new music, becoming familiar with the notes of certain composers, listening to them in recordings and at concerts.

The specificity of the accompanist's playing is that he must find meaning and pleasure in not being a soloist, but one of the participants in the musical action, and a supporting participant. The solo pianist has complete freedom to express his creative individuality, while the accompanist has to adapt to the soloist’s performing style.

To set the tasks of interest in the musical and creative activity of the accompanist, knowledge in his subject may not be enough. You need deep knowledge in the disciplines of the musical theoretical cycle (harmony, form analysis, polyphony). Versatility and flexibility of thinking, the ability to study a subject in various connections, awareness in related areas of knowledge - helps the accompanist process the available material.

An accompanist must have a number of positive psychological qualities. The accompanist's attention is multi-layered: it must be distributed not only between his own two hands, but also attributed to the soloist - the main character.

Auditory attention is occupied by the sound balance, which represents the basis of ensemble music-making - what matters is what and how the fingers do.

Ensemble attention follows the embodiment of the unity of the musical concept. Such tension of attention requires a huge expenditure of physical and mental strength.

Mobility and speed of reaction are very important for the professional activity of an accompanist. He is obliged, without ceasing to play, to suggest the musical text to the soloist, to pick up the soloist in time and bring the work to its logical conclusion. Will and self-control are qualities necessary for an accompanist. If musical problems arise, he must firmly remember that it is unacceptable to stop or correct his mistakes, as well as to express annoyance with facial expressions or gestures.

The functions of an accompanist working in an educational institution with soloists (children) are largely pedagogical in nature, since they often come down to learning a new repertoire, the ability to correct the singer regarding the accuracy of intonation and other subtleties of performance. This pedagogical side of the accompanist's work requires the pianist to have specific skills and knowledge, pedagogical flair and tact. The role of internal hearing in accompanist work is increasing. “The accompanist’s mental representation of intonation must be very strong in order to obtain the value of the unshakable criterion of the singer’s sound in his intonation,” N. Kryuchkov rightly notes.

A singer’s inaccurate intonation depends on many reasons related not only to hearing, but to the lack of certain vocal skills. Insufficiently high position of the sound, wide vowel, weakened or forced breathing, sometimes the physical condition of the singer - these are the reasons leading to intonation inaccuracy. Teacher and accompanist E. Shenderovich dwells in detail on the methods of teaching an accompanist and a singer intonationally and rhythmically difficult parts of a melody.

One of the serious problems for a beginning singer is the rhythmic side of performance. If a student does not immediately perceive a complex rhythm, it is necessary to count out loud or conduct, feel the downbeat, the main pulse of the work, and achieve evenness of sound.

The accompanist warns against meaningless gestures while singing, monitors the implementation of correct, non-shallow breathing, which helps in singing the cantilena. At the same time, work is underway on the length of vowels. As F. Chaliapin said: “Vowels are the soul of singing. The vowels are the river, the consonants are the banks.” The soloist must sing the vowel until the last moment, and mentally assign the consonant adjacent to it to the next vowel. This kind of training helps you sing legato. At first, diction suffers, but you have to go through this stage. When a student learns to sing without missing a single vowel, he will be able to pay more attention to the consonants, which will not tear the cantilena, but will decorate it.

When starting to play, the accompanist must look and hear much ahead, so that the real sound follows the visual and internal perception of the musical text. When working with a vocalist, the accompanist must delve into the musical and poetic text, because the emotional structure and figurative content of the vocal composition are revealed not only through music, but also through the word. During the work, one must take into account that the sound of the solo part depends on the accurately found piano sonority. The rough knocking sound of the accompaniment causes the vocalist to force the sound. The soft “singing” of the piano accustoms the soloist to correct sound management and weans him from “screaming.”

The work of an accompanist is structured differently depending on the singer’s ability and the structure of his singing apparatus. You can first sing the student with several exercises, you can sing vocalises. Analysis of a new work begins by phrases and individual sentences. But sometimes it is useful to perform the entire piece, then point out the mistakes to the student and get them corrected.

The accompanist, under the guidance of a teacher, teaches the singer to correctly distribute the power of sound throughout the entire song or romance. For a beginning vocalist, singing piano is difficult; it is difficult to sing both on the breath and on the piano. A common mistake for vocalists is to sing the last sound of a word or phrase forte, even though it is often an unstressed syllable or a weak beat.

A feature of vocal music is the presence of verbal text. Often a student sings correctly, but the words are dull and inexpressive. One of the reasons is poor diction. Words must be colored with thought and pronounced very clearly. It is necessary to awaken the student’s imagination, penetrate into the content of the work, use the expressive capabilities of the word, well pronounced and “colored” by the mood of the entire work.

The accompanist is entrusted with the responsible task of introducing the student to various musical styles and cultivating his musical taste. Establishing creative, working contact with a vocalist is not easy, but human and spiritual contact is needed. When working with an accompanist, complete trust is necessary. For a special class teacher, the accompanist is the right hand and first assistant, a musical like-minded person. For a soloist, an accompanist is a confidante of his creative endeavors, an assistant, a friend, a mentor, a coach and a teacher. Not every accompanist may have the right to such a role. It is won by the authority of solid knowledge, creative composure, will, perseverance, and responsibility in achieving the desired artistic results when working together with soloists and in one’s own musical improvement.

Useful tips for accompanists working with vocalists and detailed performance analysis of vocal works by Russian composers are contained in the articles by L. Zhivov, T. Chernyshova, E. Kubantseva. These authors aim to help the young accompanist’s work on the embodiment of artistic images of works, and to outline options for their interpretations.

Used Books

1. Zhivov L. About the work of an accompanist. Sat. articles, ed. M. Smirnov, S-P, Music. 1974
2. Kryuchkov N. The art of accompaniment as a subject of study. M. Music. 1961
3. Kubantseva E. Concertmaster class. M. Academy. 2002
4. Moore J. Singer and accompanist. M. Rainbow. 1987
5. Chernyshova T. About the work of an accompanist. M. Music. 1974
6. Shenderovich E. In the accompanist class. M. Music. 1996

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MAU DOD "Children's Art School named after. A. Alyabyev" of the city of Tobolsk

Methodological message on the topic:
“The role of the accompanist in ensemble work with a soloist”

The work of an accompanist in a children's art school, due to the age characteristics of children's performance, is characterized by special responsibility and a number of additional difficulties.

The purpose of this methodological development is to summarize practical experience in the field of creative and pedagogical activities of an accompanist.

What qualities and skills should a pianist have to be a good accompanist? The accompanist field of music-making presupposes mastery of both the entire arsenal of pianistic skills and many additional skills: (the ability to organize a score, build a vertical line, reveal the individual beauty of the solo voice, provide a living pulsation of the musical fabric, provide a conducting grid, etc.)

The accompanist must support the student in his performing intentions, create with him a single musical concept of the work, support him in culminations, always be a sensitive assistant, but at the same time be invisible.

A good accompanist must have general musical talent, a good ear for music, imagination, and the ability to grasp the figurative essence and form of a work. The accompanist not only artistically, imaginatively and inspiredly embodies the author’s plan in his playing, but also captivates the student’s performance.

The specificity of the work of an accompanist in a music school is that he collaborates with students from different departments, and therefore he must be a “universal” musician. I will list what knowledge and skills an accompanist needs for professional activities in a music school:

When playing the accompaniment, see and clearly imagine the soloist’s part, grasping in advance the individual uniqueness of its interpretation and, by all performing means, contribute to its most vivid expression;

Possession of skills in playing in an ensemble;

The ability to transpose a text of average difficulty within a fourth, which is useful for working with vocalists;

Knowledge of orchestration rules; features of playing instruments of a symphony and folk orchestra, in order to correctly correlate the sound of the piano with the various strokes and timbres of these instruments;

Ability to play claviers (concertos, operas, cantatas) of various composers in accordance with the requirements of the instrumentation of each style. The ability to rearrange awkward episodes into piano textures in claviers without violating the composer’s intentions;

The ability to simultaneously play and see the dancers, the ability to lead an entire ensemble of dancers;

The ability to improvise (select) introductions, acting out, conclusions necessary in the educational process in choreography classes; [1]

The accompanist needs to accumulate a large musical repertoire in order not only to feel the music of different styles himself, but also to explain it to the student. To master the style of a composer from the inside, you need to play many of his works in a row. A good accompanist shows great interest in learning new, unknown music, getting acquainted with the notes of certain works, listening to them in recordings and at concerts. Any experience will not be in vain; even if a narrow field of accompanist activity is subsequently determined, elements of other genres will still be found in the chosen field.

The specificity of the accompanist’s playing is also that he must find pleasure in being not a soloist, but one of the participants in the musical action, and, moreover, a secondary participant.

With all the versatility of the accompanist’s activities, creative aspects are in the foreground. A necessary condition for the creative process of an accompanist is the presence of a plan and its implementation. The implementation of the plan is associated in a discussion with the student - the soloist - of the artistic image of the work, embedded in the musical text and internal representation.

An accompanist must have a number of positive psychological qualities. Thus, the accompanist’s attention is a completely special kind of attention. It is flat: it must be distributed not only between two own hands, but also attributed to the soloist - the main character. At every moment it is important what and how your fingers do, how the pedal is used. Auditory attention is occupied by sound balance (which represents the basis of the fundamentals of ensemble music playing), sound science of the soloist; ensemble attention monitors the embodiment of the unity of the artistic concept. Such tension of attention requires a huge expenditure of physical and mental strength.

Mobility, speed and active reaction are important for the professional activity of an accompanist. If a student mixes up the musical text at a concert or exam (which often happens in children’s performances), the accompanist, without ceasing to play, must catch the soloist in time and safely play to the end.

On stage, students should receive the highest state of mind - inspiration. It mobilizes and concentrates internal forces, all the energy of the performer. At the same time, the artist experiences intense excitement on the stage associated with the enormous complexity and responsibility of solving artistic and performing problems. An experienced accompanist can always relieve a student’s uncontrollable excitement and nervous tension before a pop performance. The best means for this is the music itself: expressive playing of the accompaniment, increased tone of performance. Creative inspiration is transferred to the partner and helps him gain psychological confidence, and behind it muscular freedom.

The most important role in stabilizing the concert state is played by the regularity of performances. D. Oistrakh, for example, noted that “if you play less than 2 times a month, no nerves can stand it. To feel like an artist and think about music, and not about excitement, you need to play a lot, give whole series of concerts, otherwise,” the master emphasized, “the loss of contact with the listener and even the special feeling of the instrument as it should be on the stage is inevitable.”

According to psychologists, a child is closely connected with the natural mechanism of copying the actions of other people. This pattern can be successfully used during preliminary preparation for a concert. It is important that he goes through all conceivable stages of the preparatory process: first he sees his peers on stage, then he himself goes on stage as part of an ensemble, gaining performance experience.

According to A. Yampolsky, pop performance has many faces. “It should give a feeling of celebration, not a challenge. You cannot leave the stage without joy and excitement, without new discoveries and prospects,” said the outstanding master of violin pedagogy. Konstantin Igumnov noticed that after the concert a lot of things changed for him: “I just started to hear differently.” Praise and positive emotional support are a great incentive for a student. Discussion of the results of the concert should not be superficial. The accompanist, the student and the teacher must analyze what worked and what did not work on the stage. Only on stage does a student gain the necessary concert experience and intuitively comprehend the most complex, largely unknown secrets of performing skills, the secrets of influencing the audience.

Will and self-control are qualities also necessary for an accompanist. If any musical problems occur on the stage, he must firmly remember that he needs to support the student, he cannot express his annoyance at mistakes with facial expressions or gestures, much less correct any mistakes.

The functions of an accompanist working with soloists in a music school are pedagogical in nature. They consist of learning a new educational repertoire with students. This pedagogical side of accompanist work requires specific skills and knowledge. The accompanist needs deep knowledge in the disciplines of the musical theoretical cycle (harmony, form analysis, polyphony).

One of the important aspects of being an accompanist is the ability to “sight read” fluently. The pianist is required to quickly navigate the musical text, be sensitive and attentive to the phrasing of the soloist, and be able to immediately grasp the character and mood of the piece.

Before starting to accompany from sight on the piano, the pianist must mentally embrace the entire musical text, imagine the character and mood of the music, determine the main tonality and tempo, pay attention to changes in tempo, size, tonality, and dynamic gradations indicated by the author, as in the part piano and as a soloist. It must be taken into account that some instructions, for example tenuto, are sometimes given only in the vocal part and are not reflected in the piano part. Mentally reading the material is an effective method for mastering sight reading skills. However, the moment of mental grasp of the musical text precedes the game in the process of accompaniment, since reading the notes does not always precede their performance.

In fact, the embodiment of the just read text occurs as if from memory, because attention must always be focused on what follows. It is no coincidence that an experienced accompanist turns the page one or two bars before it is played to the end. When reading notes from a sheet, the performer must be so well versed in the keyboard that he does not need to look at it often, and he can mobilize all his audience attention on the continuous awareness of the text being read. The importance of precise coverage of the bass line should be especially taken into account, because an incorrectly taken bass, distorting the basis of the sound and destroying the tonality, can disorient and simply throw off the soloist.

The accompanist must constantly practice sight reading in order to bring these skills to automaticity. Mastering sight reading skills is associated with the development of not only inner hearing, but also musical consciousness and analytical abilities. It is important to quickly understand the artistic meaning of the work, to grasp the most characteristic in its content, the inner line of revealing the musical image; It is necessary to have a good understanding of the musical form, the harmonic and metro-rhythmic structure of the composition, and be able to separate the main from the secondary in any material. Then the opportunity opens up to read not “note by note,” but in total, in large sound complexes, just as the process of reading a verbal text proceeds. It is difficult for a pianist who frantically clings to all the notes, hopelessly trying to perform the entire texture of a complex composition. The decisive condition for success is the ability to dissect the piano texture, leaving only the most minimal basis of the piano part, to quickly and clearly imagine the main changes in the piece - character, tempo, tonality, dynamics, texture, etc.

Reading a musical text should be carried out according to musical and semantic divisions, starting from the simplest intonation cells: motives, chants, and ending with musical phrases, periods, etc. The pianist must be able to quickly group notes according to their semantic affiliation (melodic, harmonic) and in such a way connections to perceive them. Such perception immediately activates musical thinking and musical memory and thereby gives impetus to the musician’s creative imagination.

At the stages of training to read accompaniment from a sheet, the technique of compressing the texture into a chord sequence is effective in order to more clearly represent the logic and dynamics of its development. It is useful to play the sequence with exact observance of the duration of each chord, without repeating the same chord on metrical beats. At the same time, sometimes an interesting rhythm is revealed, formed by changing harmonies. After sufficient training, such ideas arise purely mentally, without prior playback, and are one of the most important conditions for quick orientation in the text of a new work. To read a musical text written in three or more pitches (in vocal and instrumental works with piano accompaniment), a quick determination of the harmonic basis is a necessary requirement.

For a good orientation in the musical text, the accompanist must develop a complex perception in relation to melodic connections. Melodic movement is perceived more quickly if the notes are mentally grouped. When encountering similar intonation again: ascending, descending, arpeggiated movement, singing, etc., the pianist easily recognizes it and almost does not need a second analysis. Simultaneous coverage of melodic formations, ranging from the simplest intonation cells to detailed melodies, is especially important when reading polyphonized fabric, which is often found in accompaniments.

When reading accompaniment from sight, in addition to the ability to break down the texture of a composition into its component harmonic and melodic complexes, it is important to feel the characteristics inherent in various compositional styles. Thus, it is typical for Beethoven to construct themes and accompaniment based on the sounds of chords and diatonic scales. In the popular romances of A. Borodin, second and fourth combinations in harmony are often repeated, which at first are unusual in sight reading. It is difficult to imagine the texture of J. Brahms's works in which thirds and sixths would not be present. Mozart is distinguished by crystal simplicity: his polyphony is transparent, the texture is clear, the rhythm is definite and stable. Rachmaninov is characterized by a thick texture, an abundance of echoes, a combination of two eighths with triplets, expressing a state of emotional tension. To master a composer's style, a pianist needs to play many of his compositions in a row.

The accompanist, sight-reading part of a three-line and multi-line score, must follow the soloist with his sight and hearing and coordinate his performance with him. The work of E. Shenderovich proposes a step-by-step method for mastering the skill of sight reading. Here are several stages of gradually covering a three-line score:

Only the solo and bass parts are played. The pianist learns to follow the soloist’s part and unlearns the long-standing habit of covering only a two-line piano score.

The entire three-line texture is performed, but not literally, but by adapting the arrangement of chords to the capabilities of one’s hands, sometimes changing the sequence of sounds, removing doublings. At the same time, the sound composition of the chords and the harmonic development as a whole are preserved.

The pianist carefully reads the poetic text, then plays only one vocal line, singing along the words or pronouncing them rhythmically. At the same time, you need to remember in what places the caesuras are located (so that the singer takes breath), where decelerations, accelerations, and climaxes will occur.

The pianist concentrates entirely on the piano part; Having played well into the accompaniment, he adds a vocal line (which the soloist sings, or another pianist plays along with, the accompanist himself sings along with, or the tape recorder plays).

Sight playing music is one of the most difficult forms of reading in general. In addition to the intense activity of vision, hearing is actively involved in reading, controlling the logic of musical development, creating a mental image of the immediate continuation of the musical material. The sound image that has arisen in the performer’s mind requires immediate real reproduction. This is achieved by mobilizing the gaming machine. Thus, auditory, visual, motor, mental and psychological processes are involved.

When reading the accompaniment, an experienced accompanist knows that in the original version some of the decorations can be omitted, partial chords can be played and octave doublings can not be played. As sight reading skills develop, textural simplifications are reduced to a minimum.

When starting to play, the accompanist must look and hear a little ahead, at least 1-2 bars, so that the real sound follows the visual and internal auditory perception of the musical text. It is advisable to use the pauses indicated in the text and repetitions of phrases to prepare for what follows next. Sight performance always shows the degree to which the work can be heard with the “inner ear.”

To fluently sight-read the accompaniment of ensemble works, the pianist must technically master the playing of various types of piano textures. This is a figurative texture in the form of laid out chords, an accompaniment of a chord structure, where the chords are located on the strong or weak beats of the bar, an accompaniment that includes a duplicating vocal part.

Quite often you can come across cases when the author's version of recording the texture turns out to be not particularly successful or inconvenient for execution. This occurs in works with a polyphonic texture; sometimes the accompaniment part is an unsuccessful arrangement of the orchestral score. In these cases, the accompanist must show maximum resourcefulness, mobility and rationalize the texture, which will make it easier for him to read the notes.

An art school accompanist, in addition to sight reading, absolutely needs the ability to transpose music into a different key. In a vocal or choral class at the Children's Art School, the accompanist may be asked to play the accompaniment in a different key than the printed notes. This is explained by the tessitura capabilities of the voices, as well as the state of the children’s vocal apparatus at the moment.

Bibliography

1. Grigoriev and the stage Classics-XXI M., 2006

2. Kubantseva’s work on the piano part of the pianist-accompanist // Music at school. - 2001 No. 4

3. Podolskaya accompaniment skills from the sheet. // About the work of an accompanist / Ed. – comp. M. Smirnov. – M., Music, 1974

4. In the accompanist class. Reflections of a teacher. – M., Music, 1996

Methodology for working on a piano part for a pianist-accompanist // Music at school. - 2001 No. 4

Performer and stage Classic-XXI M., 2006

Development of accompaniment skills from sight.// About the work of an accompanist / Ed.-comp. M. Smirnov.-M., Music, 1974

In the accompanist class. Reflection of a teacher - M., Music, 1996