Who wrote the play new doll. Children's classical music

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• The presentation was prepared by Rev. Vyazemsk Children's Art School named after A.S. Dargomyzhsky:
• Kurnosova E.A.
• Vorobyova I.V.
• Mironova I.I.
• 02/22/2017

The first orchestra of Russian folk instruments

This was over a hundred years ago. Once in St. Petersburg, a young violinist Vasily Andreev came to the famous violin maker Ivanov and said that he wanted to order a musical instrument. Andreev showed a drawing of the instrument he had drawn, and the violin maker became terribly angry.

It turns out that Andreev asked a respected violin maker to make him a balalaika! The master found such a proposal simply offensive!

But the young man insisted and even asked that the balalaika be made from the best types of wood, which the master had aged for years, intending to make a noble instrument from it.

V.V. Andreev designed

five varieties of balalaikas: primu, second, alto, bass and double bass. Of these, only the prima is a solo, virtuoso instrument, while the rest are assigned purely orchestral functions: the second and viola implement chord accompaniment, and the bass and double bass perform the bass function.

And he, too, Vasily Andreev, revived the domra for us. Quite by accident, he found only one such instrument in the Vyatka province and did not immediately understand what it was!

Most often, the alto domra is assigned melodic parts in the middle and lower registers or pedal accompaniment.

Three-string domras are one of the main groups of instruments in a folk orchestra. It includes piccolo, small, alto and bass domras. The small domra is the leading instrument of the orchestra. The alto Domra is assigned melodic parts in the middle and lower registers or pedal accompaniment. The bass domra is most often tasked with performing harmonically consistent bass sounds.

Vasily Vasilyevich Andreev (1861-1918) made his dream come true -

He formed the Great Russian Orchestra, whose first performance took place in 1897 in the Hall of the Noble Assembly. From then on, folk instruments began to spread with extraordinary speed throughout Russia.

The further transformation of the orchestra into a multi-timbral one was accompanied by the introduction of new instruments:

• Keyboard gusli.

• Orchestral harmonicas - in most cases modern button accordions are used.
• Wind instruments:
• Russian origin -
• pipes, pity pipes, bagpipes, kugikly, Vladimir horns.
• European -
• flutes, oboes, sometimes brass instruments are included.
• Percussion instruments:
• Russian origin -
• bells, spoons, rattles, tambourine, etc.
• European -
• timpani, bells and others.

Brass

Horn It is a conical-shaped straight pipe with five holes at the top and one at the bottom. The horn is made from birch, maple and juniper. The horn's sound is strong but soft, with a range of slightly more than an octave.

Zhaleika– a wind reed instrument, is a short wooden tube with 3-7 side holes. The pity can be single or double. They play it both as a duet and solo, and perform folk songs, dances, and tunes as part of an orchestra.

The flute is similar to a longitudinal flute, consisting of two wooden tubes of different lengths that are not fastened together.

The flute is played mostly solo and folk songs are performed.

Flute - modern flutes are very rarely made of wood, more often made of metal, sometimes made of plastic and glass. The flute is held horizontally. The flute is one of the highest sounding instruments in the orchestra. The most virtuoso and technically agile instrument in the wind family, thanks to these advantages she is often assigned orchestral solos.

The oboe is a melodic instrument with a range lower than that of the flute. Slightly conical in shape, the oboe has a melodious, but somewhat nasal timbre, and even sharp in the upper register. It is primarily used as an orchestral solo instrument.

Clarinet - comes in several sizes, depending on the required pitch. The clarinet has a wide range, warm, soft timbre and provides the performer with wide expressive possibilities.

Percussion musical instruments.

The oldest and most numerous among groups of musical instruments. Often the drums are affectionately called the “kitchen” of the orchestra, and the performers are called “jack of all trades.” The musicians treat percussion instruments quite harshly: they hit them with sticks, hit each other, shake them - and all this in order to set the rhythm of the orchestra, as well as to give color and originality to the music. Sometimes a car horn or a device that imitates wind noise (aeoliphone) is added to the drums.

Timpani

Timpani - a hemispherical metal body covered with a leather membrane; timpani can sound very loud or, conversely, softly, like a distant rumble of thunder. An orchestra usually has two to five timpani.

• Plates (pairs) - convex round metal discs different sizes and with an indefinite pitch.

Smolensk Russian folk orchestra them. V.P. Dubrovsky....

State Academic orchestra folk instruments of Russia name N.P. Osipova.

State ensemble Russian music and dance "Sadko".

Tchaikovsky P.I. "Children's album

(methodological and performance analysis)

Children's teacher music school No. 1 Semenova Marina Alexandrovna
Cycle of piano pieces "Children's Album", Op. 89, written by P.I. Tchaikovsky in May 1878, dedicated to his beloved nephew Volodya Davydov and published by P. Jurgenson in October of the same year.
On the title page of the first edition the full title of the cycle is: “Children's Album. A collection of light plays for children (imitation of Schumann). Composition by P. Tchaikovsky.”
Tchaikovsky's love for children is widely known. He treated with great tenderness, for example, his nephews, or the deaf-mute boy Volodya Konradi, a pupil of the composer’s brother M.P. Tchaikovsky. It is also known how persistently the composer worked to open a school in Maidanovo. Tchaikovsky could spend hours playing with children, taking part in games, enjoying their spontaneity. The children paid the composer with sincere affection and love. The bright, joyful world of a child is reflected in the work of Tchaikovsky. Suffice it to recall the cycle of “Children’s Songs” (the full title is “16 songs for children based on the poems of A.M. Pleshcheev and other poets,” op. 543 or the ballet extravaganza “The Nutcracker,” op. 71).
With extraordinary sensitivity and a subtle understanding of child psychology, the composer reflected in the “Children's Album” the life and everyday life of the children of the environment that surrounded him every day.
The “Children's Album” contains 24 plays that are not connected by a single theme. All plays in the cycle are programmatic, each containing a specific plot and living poetic content.
The collection captures a wide range of images. These are pictures of nature - “ Winter morning", "The Lark's Song", children's games - "Game of Horses", "Doll's Illness", "Doll's Funeral", "New Doll", "March of the Wooden Soldiers". The characters of Russian folk tales are vividly depicted - “Nanny’s Tale”, “Baba Yaga”, Russian folk art– “Russian song”, “A man plays a harmonica”, “Kamarinskaya”, songs of other peoples - “Italian song”, “Ancient French song", "German song", "Neapolitan song". The cycle contains elements of figurativeness - “The Organ Grinder Sings” and onomatopoeia - “The Lark’s Song”. Tchaikovsky, without resorting to simplification, paints a rich inner world child in the plays “Morning Reflection”, “Sweet Dream” and “Chorus”.
The songs of various peoples are based on authentic folk melodies. “Russian Song” is built on the theme of the song “Are you a head, my little head?” Italian folk melodies are the “Neapolitan Song”, previously included in the ballet “Swan Lake” and “Italian Song”. Another Italian folk melody formed the basis of the play “The Organ Grinder Sings.” The theme of “An Old French Song” is also genuine, and was later used in the opera “The Maid of Orleans”.
. Robert Schumann's Album for Youth, which Tchaikovsky imitates, is widely known. He expressed his love for Schumann in some piano works, for example, in the play “Un poco di Schuman”, op. 72. or in one of the variations of op. 19.
Schumann's influence on Tchaikovsky's piano style is visible, for example, in the similarity of texture, rhythm and dynamics, but in the "Children's Album", paradoxically, it is expressed to a lesser extent; the genre themes of these collections are rather similar. The plays “The Brave Rider”, “The Cheerful Peasant”, “Soldier’s March”, “Winter”, “Sicilian Song” by Schumann correspond to works from Tchaikovsky’s cycle that are similar in theme: “The Game of Horses”, “A Man Plays a Harmonica”, “March of the Wooden soldiers", "Winter morning", "Italian song".
If we talk about continuity, we should note the similarity of the musical language of the “Children’s Album” with the melody and texture of M.I. Glinka’s piano style. His waltzes, nocturnes, polkas, mazurkas, plays “Feeling” and “Innocence” are the immediate predecessors of “Waltz”, “Mazurka”, “Polka” and other plays from the “Children's Album”.
The “Children’s Album” was published several times during the author’s lifetime. Nowadays there is a large number of domestic and foreign publications. The cycle is published in full and in parts; individual plays are also included in various collections. In some publications, for various reasons, individual plays were removed from the Children's Album. In Muzgiz's 1929 edition. The play “Funeral of a Doll” was not included under the pretext of its tragic nature, but from the same publication in 1935. the play “Chorus” (formerly “In the Church”) was withdrawn as generally unacceptable.
In the autograph of the “Children's Album,” the designations of tempo and character are given in Russian, but already in the first edition of Jurgenson, which the author reviewed and corrected, the terminology changed significantly. For example, the character of the play “Morning Reflection” is designated “Quiet” in the autograph, while Jurgenson’s edition prescribes the tempo designation Andante (Calmly). In the play “A Man Plays the Harmonica” - in the autograph “Quite Slowly”, and in the 1st edition - Adagio (Slowly).
The autograph of the play “The Organ Grinder Sings” does not contain the author’s tempo designation. In Jurgenson's edition - Andante. In a number of editions, this tempo is designated differently. Edited by E. Golubev - Andantino, published by Peters - Moderato. In the latter, the author's designations of tempo are generally distorted in many ways. In the plays “Morning Meditation” and “The Doll’s Disease” Lento is arbitrarily written, in “Russian Song”, “Kamarinskaya” and the first part of the “Neapolitan Song” - Commodo, “The Lark's Song” - Lentamente. The editor's complete lack of understanding of the nature of music is demonstrated in the designation of the Andante tempo in the play "Winter Morning".
In the autograph, the first period of the play “German Song” is maintained on the unchanged bass Es (in the first quarter of the bar), and the same is true in the reprise. However, already in Jurgenson's edition the unchanged organ item is missing. All subsequent editions are based on Jurgenson's edition. The version with a constant organ section is very attractive - it fits well with the nature of the music and can be considered as a kind of author’s version.
In the preface to the edition of the “Children's Album,” editor E. Golubev points out “the incorrect designation of the rhythmic figure in the “German Song” available in all editions of the album in the third bar from the end, two eighth notes with a dot, followed by a dotted line and two eighth notes, as elsewhere in similar places. The error arose as a result of a typo by the author himself.” We cannot agree with this argument. Why should the author act in a reprise exactly by analogy, because the reprise sounds more convincing with an even more emphasized dotted line.
In all Russians and Soviet publications The articulation and dynamics of the autograph and the first edition are accurately reproduced. However, in many foreign publications these designations are distorted. In the already mentioned Peters edition, editor V. Niman arbitrarily corrects the author's instructions. In this edition, translations of play titles into German, French and English languages. The play “The Game of Horses” is translated as “Little Cavalryman”, “March of the Wooden Soldiers” is “Soldier’s March”, “A Man Plays the Harmonica” is “The Peasant’s Song”, and “Mama” is translated as “My Mommy”. Incorrect translations also distort the nature of the music and do not give children a complete understanding of it. The element of play is lost in the plays “The Game of Horses” and “March of the Wooden Soldiers”, “Mother” is translated in a cloyingly sweet way, and no idea is given about the specificity of the work “A Man Plays a Harmonica”.
From all that has been said, it follows that it is better to turn to domestic editions of the “Children’s Album”, which accurately depict the author’s text.
Although the texture, melody, harmony, rhythm, articulation, dynamics, ornamentation, fingering and pedaling of the “Children's Album” are sometimes complex, they take into account the level of development of children and their performing capabilities.
Tchaikovsky did not use complex keys or tonal shifts. Of the 24 plays, 19 are written in major keys, and of the 5 minor keys, only the plays “The Doll’s Sickness” and “The Doll’s Funeral” (G minor and C minor) sound truly gloomy. The major keys are dominated by C major, D major, F major, B flat major, E flat major, which give the whole cycle a bright, joyful sound.
The ratio of tempos in the cycle is thought out and built on contrasts. Here is what A.A. Nikolaev, a researcher of Tchaikovsky’s piano work, wrote: “In the “Children’s Album” we recognize Tchaikovsky’s characteristic piano style, which retains its basic, typical features. Here, as if on a reduced scale, in a simplified presentation, almost all the technical formulas found in “The Seasons” and in other miniatures by Tchaikovsky are presented.”
It is interesting that Tchaikovsky, who never taught children and had little contact with the issues of teaching the piano, showed excellent knowledge of piano presentation, accessible to children's hands.
In the entire collection there is, for example, not a single octave or chord located wider than within a seventh. In not a single piece will we find a simultaneous combination of the extreme registers of the keyboard, requiring a wide distance between the hands. The lower register (counter and subcontra octaves) are not used at all, and sounds in the highest octaves are found only in the play “The Lark's Song.” The fabric of these works itself is much simpler in design. The usual multi-element presentation, imitations, echoes characteristic of Tchaikovsky are almost absent here.
Chord technique occupies a predominant place in the series of these pieces, but as we noted above, chords are used everywhere taking into account physical capabilities child's hand.
Chord accompaniment in the left hand part is typical for such pieces as “Waltz”, “Mazurka”, “Italian Song”, “German Song”, “Neapolitan Song”, “The Organ Grinder Sings”, i.e. for such musical pictures, where there is a melodious character in the part right hand supported by accompaniment that clearly reveals the harmonic basis.
Another type of piano presentation is an almost continuous harmonization of the melody, forming a movement with chords located in both hands. We see such a drawing in “Morning Prayer”, in modern transcription - “Morning Reflection”, the plays “Winter Morning”, “March of the Wooden Soldiers”, “Funeral of a Doll”, “Nanny’s Tale”, etc. A particularly dense chord structure is found in the piece “A Man Plays a Harmonica,” where the sound of a harmonica is imitated by the ingenious technique of using dominant seventh chords in a close arrangement, which sounds quite shrill and sharp in the middle register of the piano.
To all that has been said, it must be added that in the plays “Morning Reflection”, “Winter Morning”, “Game of Horses”, “Mother”, “Russian Song”, “Nanny’s Tale”, “Chorus” the quartet structure is clearly felt. The melody is extremely expressive. The composer generously draws it, as if from a cornucopia. The rhythm is also varied. The harmonic composition of the pieces is simple and accessible. The ornamentation is organically woven into the melodic line of the plays “Polka”, “Italian Song”, “Song of the Lark”.
Let us especially focus on articulation and dynamics. The composer finds precise intonations that sometimes convey even barely noticeable, subtle shades of expressiveness of human speech. Studying the "Children's Album" can be an excellent articulation school.
I. Braudo in his major work “Articulation” outlined a scale of connectedness and dismemberment in the following table:
"Connectedness"
1.Acoustic legato or legatissimo
2. Legato
3. Dry legato
"Dismemberment":
4.Deep non legato
5.Non legato
6.Metrically defined non legato
"Brevity":
7. Soft staccato
8. Staccato
9. Staccatissimo (maximum achievable brevity)
Of course, the given table is only a diagram, because the degrees of coherence, brevity and dissection are truly limitless, but all the given types of articulation are available in the “Children's Album” from legato and legatissimo in the plays “Mama”, “Old French Song”, “Sweet Dream” to staccatissimo in the works “Baba Yaga” and “The Game of Horses”. In many plays, a combination of precisely placed legato, non legato, staccato, leagues, and accents is necessary to create an image, which will be discussed in detail below.
The dynamics are also carefully outlined. The composer uses both its gradual development and sudden changes in subtle gradations of sonority. But nowhere in the cycle is ff indicated - the author prescribes a dynamics scale ppp-f. In the works of the cycle, Tchaikovsky mainly used simple shapes, which are easy to analyze.
It should be recognized that the fingering of some publications is unsuccessful - it often does not agree with the meaning of the music, is inconvenient and difficult to remember. When analyzing individual pieces, fingering options for the author of the work will be suggested.
The pieces from Tchaikovsky's piano collection are invaluable pedagogical and art material. To create images, the performer will have to use the entire arsenal musical means expressiveness.
Studying works will allow young pianists to show creative initiative and read each in their own way.
The “Children's Album” can be performed in its entirety, or individual pieces should be included in the repertoire of young performers. The following microcycles can be built on its material:
1. “Doll’s illness”, “Doll’s funeral”, “New doll”.
2. “Waltz”, “Mazurka”, “Polka”, “March of the Wooden Soldiers”.
3. “Russian song”, “A man plays a harmonica”, “Kamarinskaya”.
4. “Italian song”, “Old French song”, “German song”, “Neapolitan song”.
5. “Nanny’s Tale”, “Baba Yaga”.
Other solutions can be found when combining plays.
Author methodological manual does not provide musical examples, because the notes of "Children's Album" are ubiquitous. When reading the work you need to have them in front of you. We emphasize that the reader will inevitably encounter some repetitions, because... A number of plays pose similar artistic and pianistic tasks.
Let's move on to the performing and pedagogical analysis of the plays in the cycle.

1. Morning reflection

The play introduces a child to the world of complex experiences. In a work reminiscent of a saraband, there is a strict four-part voice (the student can imagine the sound of a quartet string instruments). In the chorale, the author avoids harmonic complications and is content with simple cadence formulas. It is worth emphasizing the sharp sound of the seconds in bars 6,8, 10,21, the opening seventh chord on the tonic organ point (bars 17,19).
Carefully work with the student on voice leading, the melodiousness of each voice, but especially pay attention to the sound of the mobile soprano and bass.
Articulation and dynamics should emphasize the expressiveness of the piece. Although in bars 1,2,7-12 legato is not written out by the author - it is implied. It is important to achieve a soft, melodious legato sound in all voices. This will be ensured by appropriately selected fingering (when repeating chords, fingers should not be changed).
In one case, the expressiveness of speech intonations is emphasized by leagues - supports on the strong beats of measures, in the other - by syncopations on the second or third beat. The teacher will also draw the student's attention to the fact that an accented downbeat and soft syncopation sometimes follow one another (bars 17,19).
When working on dynamics, pay close attention to the instructions in the text - first, a small “fork” in 3-5 bars, then a partial culmination of mf in bar 8 and a bright climactic f in the twelfth. At the end of the piece, the music gradually fades away and dissolves on pp.
In the rhythmic figure characteristic of the saraband - a quarter note with a dot - an eighth, students often do not listen to the full stop. Rhythmically, you need to play the right hand part and the dotted eighth with a dot - the sixteenth, taking into account that in all cases the eighth is accented; this gives the rhythm additional elasticity.
You should especially work on the tonic organ point, use the rehearsal capabilities of the piano, and differentiate the bass and tenor parts. To do this, the support is removed from the fifth finger (it gently repeats the organ point) and transferred to the remaining fingers. In a singing tenor part, a strong first finger will be able to naturally fulfill the accents in bars 17 and 19 - supporting the expressiveness of the soprano, enhancing the sound of the chord. In this fragment, also feel the “talking” pauses in bars 16 and 18.
The piece may use a delay pedal to mark changes in harmonies. 17, 19 and the last three measures can be pronounced on one pedal. The organ point contributes to this.
When playing holistically, students tend to drag out the tempo; The desire to overcome the chord vertical and find a natural, leisurely, flowing movement in the rhythm of the saraband will help.
The relatively simple texture of the work does not mean that it is easy and accessible for the student to understand. Performing a piece requires a sufficient amount of attention from the child; he must clearly show the polyphony of the piece, take into account the harmonic, phrasing, articulation, dynamic, and rhythmic features of the work. Only work on conscious mastery of all components of interpretation will lead to its meaningfulness.
2. Winter morning

The play captures not only the picture of a snowy, frosty winter morning, but also psychological mood child. The piece begins with a joyful D major, which soon modulates into parallel minor, as if joy is overshadowed by cloudy weather.
A potential mistake for a student is dividing the music into separate units by beat, so the teacher should pay attention to the fact that each eight-beat of the outer parts of the piece should be pronounced in one breath, as if under a common league. It is necessary to find appropriate pianistic movements so that each cell (measure) is an integral part of the overall movement. The collected hands are positionally transferred with soft, economical, synchronous movements. Along the way, springy spring supports with clear resolutions alternate within each bar, a general crescendo is carried out with climaxes in bars 5 and 13 and a subsequent diminuendo.
Monitor the accuracy of the dotted rhythm, emphasize the roll calls in the soprano and alto parts in bars 5-8 and soprano and tenor (bars 13-16). The same with minor changes in the reprise.
Contrasting middle part The play is very expressive. Its metricality (in each two-beat the same rhythm is repeated) must be overcome by performing means in the same way as in the extreme parts of the play, combine two-beats, pronounce them in one breath with a melodious, soulful sound. Expressive accents should not delay movement. Don't smooth out dissonances. In bars 25-40, it is important to emphasize the bass line, which gives the fragment a special charm. You should work on the accuracy of the rhythmic figure - eighth with a dot - sixteenth, hear the roll calls of soprano and alto. Draw the student’s attention to the clear, melodious performance of the culminating dotted line of this figure in bars 28 and 32, which runs synchronously in all voices. Movement rushes towards it, as if summing up the previous constructions.
In bars 39-40, the mystery of p can be emphasized by a barely noticeable slowdown in tempo. You can also slow down a little at the end of the play.
In the extreme parts of the piece in each measure, the accentuation of strong beats can be supported by the pedal, and in the middle part and coda the pedal should help identify the melodic and harmonic features of the texture.
Difficulty of this work also lies in the fact that it is designed for a good reaction of the student, his ability to think in fast pace.
3. Game of horses
The student must imagine himself as an actor, riding on a stick or toy horse. The bright, colorful little toccata is reminiscent of the Scherzo pizzicato from Tchaikovsky's IV Symphony.
When determining tempo and movement, it is important to assume that the metric unit here is a beat, not an eighth note. A musical idea fits into four measures.
From beginning to end, the piece is structured in a four-voice quartet chord structure. What comes naturally from a string quartet, with each voice played by a different person, is not at all easy to do on the piano. Natural sound can be achieved if the student feels the change of harmonies, the logic of voice guidance, and hears modulations. In chords you need to achieve sound alignment and harmony.
Staccato is performed with the smallest movements of the hand and tucked fingertips. The teacher will make sure that the student does not make any unnecessary movements on the keyboard, and when repeating notes, he uses a double piano rehearsal. Each subsequent note or chord is played before the keys are fully raised. You should choose the fingering well to avoid unnecessary hand movements.
When learning a piece, the student often touches extraneous keys. The chords sound dirty. Repeated repetitions do not improve the situation. Raise the fingers not involved in the game slightly; they should not touch the keys. Crescendo and diminuendo are achieved by increasing or decreasing the intensity of the touch on the keys. At the moment the sonority increases, the hand and then the forearm are “connected” to the fingers, and when the sound decreases, they are gradually “turned off”. These pianistic techniques should be preserved when moving to a fast tempo. If you use only uniform vertical movements, this will inevitably lead to rapid fatigue of your hands.
We emphasize that to master the piece, persistent work at a slow tempo is necessary. After thoroughly mastering a piece at a slow tempo, you should not immediately switch to a fast tempo. Often, some inexperienced young pianists make this transition all at once, and as a result the piece fails at a fast tempo. In a slow tempo, the pianist gets used to a certain slow type of movement. If you move directly to a fast pace, your hands begin to work hard and quickly get tired, the skills acquired at a slow pace are destroyed, and automation of movements cannot be achieved. At a fast tempo, the fingers expend less effort - the shoulder and forearm take on part of the work, the sound becomes lighter and more defined, and one should play closer to the keys. You should move from a slow to a fast pace gradually so that your hands gradually get used to the new type of movements. You need to find 5-7, and in some cases more intermediate gradations of tempo, from slow to the desired fast, achieving accuracy in the pronunciation of music in each. If there are rough edges in the next faster pace, you should return to the previous pace and continue polishing the failed fragment. The teacher must carefully monitor the complex process of gradual automation of movements and make his own adjustments.
The principle of transition from a slow tempo to a fast one applies not only to the play “The Game of Horses”, it is universal and can be widely applied in pedagogical practice.

The title itself contains the meaning of the work, which is emphasized by the author’s remark - “With great feeling and tenderness.” It is necessary to establish what the child sees in this image, how he can capture it in interpretation.
The play is written in a polyphonic, polyphonic style. The bass and soprano sing in decima almost throughout its entire length, but their articulatory tasks are different. The lower voice is marked legatissimo (short leagues in each bar should not be taken into account, they are long tradition correspond to the movement of the bow of string instruments). The articulation of the right hand part conveys a variety of speech intonations. Tchaikovsky's enormous skill is manifested in the fact that until bar 31 there is no reliance on strong beats in the presentation, and incomplete cadences are used in harmony, which emphasizes the through movement of the music. Its achievement is the main performance difficulty.
So, from bars 1-8 and 17-24 in the right hand part, articulatory leagues begin on the weak beats and softly resolve on the strong beats of the following bars. From the second half of bars 8 to 12 and from bars 24 to 28, short leagues, combining two quarters, follow one after another, evoking an association with a pendulum. It should also not disrupt the end-to-end development of the music. Warn the student against possible error: The left hand often plays with the same articulation as the right out of solidarity. Elastic brush movements and well-chosen fingering will help achieve legatissimo in the left hand part.
Exactly written out dynamic plan leads to a soft climax in bar 30, after which the young pianist should be well aware of the expressive “talking” pause. In the last six bars of the piece, the reliance on the downbeats of every other bar contrasts with the previous presentation, emphasizing the completeness of the statement.

5. March of the Wooden Soldiers

To embody the image, the young pianist must achieve the lightness, sonority of staccato, the “toy” sonority of the “March of the Wooden Soldiers”, to the sounds of a “toy” orchestra with flutes and a drum.
It is necessary to work on the elasticity and accuracy of the rhythm. In one case (bars 2-4) in the first half of the bar the indicated dotted line is an eighth with a dot and a sixteenth is pronounced under the league, and in the second half the dot is replaced by a pause. In another case (bars 7, 15), pauses are placed in both the first and second half of the bars. These fine details must be followed precisely. Pianistic techniques require short, fast, precise movements of targeted, rounded fingertips. It is important to work on the precision of chords and dotted rhythm, and pay attention to the fingering; for example, it is better to perform rehearsals in bars 8, 16, 40 with different fingers (sometimes, to make it easier, they can be transferred to the right hand part).
The play never goes beyond the limits of r and pp. Accents should not disrupt the dynamics; they further emphasize the “toy-like” nature of the music.
A short pedal helps you better hear the precise sound of texture, strong beats of measures, and accentuation of chords.
It is necessary to warn the student against accelerating the tempo, strictly following the author’s instructions Moderato (Moderate).

6. Doll disease

The play is one of the easiest in the “Children's Album”, but it is also fraught with certain difficulties. Students usually convey her character well - the doll is sick, suffers, moans, complains.
A common mistake is hearing only the vertical. Meanwhile, the young pianist should feel three sound layers developing horizontally - melody, bass and harmony. Each of these elements of the composition has its own expressiveness. Merging together, they form harmony. Work on a singable melody, expressive bass and harmonies that follow one after another. When combining layers, you need to pay attention to the fact that each of them is independent, and, at the same time, to their subordination, help to find the sound ratio. Students, for example, usually “sit” on a melodic note and do not feel the need to continue the melodic line. You can learn the melody separately, without pauses, at a more agile tempo, in order to better feel its development. Collect the harmonies vertically into a chord: this will make them easier to hear. Fingers will help in working on the sound, as if fused with the keys, taking them “closely,” “warmly,” softly.
Let us note the greater gradualness of dynamic development, for example, the approach to the climax f in bars 21-24, followed by diminuendo, small dynamic influxes in bars 31-34 and, finally, the final “fork”, at the end of which the tempo can be slowed down.
An excessively slow tempo, at which all the elements of the piece will inevitably disintegrate, is unacceptable - it is necessary to find a smooth, fluid pulsation.
“Doll Disease” can be a good school for pedaling. In each measure, except 9-16, gently take the delay pedal on a quarter with a dot in the left hand part and listen to it along with the melody note until the end of the measure, and then smoothly remove it when a new bass arrives. The same thing happens in every next measure. In the second eight-bar, also take the quarter pedal with a dot in the right hand part and attach the harmony to the melodic note of the next bar.
The teacher must monitor the pedaling technique so that the pedal is taken smoothly, is not pressed to the bottom and does not cause a large number of overtones, which would be in conflict with the transparent nature of the music. You also need to pay attention to finger discipline. If they overexpose the bass or harmony, then the next harmony will contain overtones of the previous one.

7. Doll funeral

In a solemn funeral procession, a funeral march sounds in gloomy C minor. At first the funeral procession is far away, then it gets closer and closer, now it is already next to us, and then it begins to move away. In accordance with this, a dynamic plan is constructed (the play begins pp, gradually develops to mf, and returns to pp again). Its accuracy is very important for revealing the image. As with every funeral march, the young pianist's attention should be drawn to the rhythmic figure (half note, dotted eighth note, sixteenth note and half note again - students often turn a dotted eighth note and a sixteenth note into a triplet). In different performing situations, this game sounds differently - sometimes like a mannered step, sometimes at the climax - minted, ominous. The gloomy nature of the music is emphasized by heavy chords and intervals in the accompaniment, which should be well coordinated with the melodic line. It is especially necessary to emphasize the seventh code of the double dominant at the climax: it usually appears in Tchaikovsky in the most tense fragments.
The articulation is dominated by measured non legato gait. The expressive leagues in measures 17, 18, 21 and 22 must be listened to to the end, but not connected to the next sixteenth note. Legato (bars 31-33) should sound melodious, highlighting the dominant stroke.
The child must be aware that this is a doll funeral and treat it as a game.

Waltz is a pair dance based on smooth twirling, one of the most common dance genres. He took a worthy place in Tchaikovsky's work. It is necessary to introduce the young pianist to analogues - two or three samples from symphonies, operas, ballets or piano waltzes, for example, with the “Nata Waltz” or the play “December” from “The Four Seasons”. It is useful to show him waltz steps or even teach him how to dance (children rarely know how to dance the waltz these days). It is advisable to contact figurative comparison– the student must imagine that the waltz is being performed at a celebration at school or at home.
The play is written in a complex three-part form in a small-format version.
First of all, you need to take care of waltzing.
The left hand part is pronounced easily, with soft support from the bass. In the second period, the bass line acquires a certain independence, which should be emphasized.
When working on a melody, strive for melodiousness, clarity, plasticity, pay attention to syncopation in 2-4 bars. Light accents and pauses should not interrupt the movement. You should think about a through development, as if the bar line disappears under the influence of the elements of dance. The melodic line tends to intermediate “intonation points” in bars 5, 7, 9 (also in the second phrase), and then to a small climax in bar 17. Next, the action becomes dynamic, the author writes out mf from 18 and f from 26 bars, which should not lead to heavier syncopation, accents, or inhibition of movement. Short leagues and staccato give this fragment a special grace. It's the same in the reprise. When performing the first part of the piece and reprise with both hands, you need to make sure that the bass and chords in the left hand part are organically woven into the overall outline of the non-stop waltz movement, to find a good balance
melodic line of bass and harmony.
In the middle part, students sometimes do not feel polymetry - a combination of a three-beat waltz accompaniment with a two-beat right hand part, and do not feel two-voices. Sometimes the sonority is forced, which leads to a dull two-beat (the left one plays along with the right one out of “sympathy”). The second phrase of the middle part can be played a little quieter, and at the end the tempo can be slowed down a little.
Carefully selected fingerings can help the artistic performance of a piece. In the left hand part, in measures 1-16 and a similar fragment in the 5th reprise, the finger should only be placed on the bass.
Pedaling will help identify danceability: connecting the bass with chords with a delayed pedal.

9. New doll

This is a subtle psychological sketch - a girl’s joy over a wonderful gift - a new doll.
When working on a play, teachers and young musicians face pitfalls. Using performing means one must be able to overcome rhythmic and textural monotony: in the extreme parts of the piece there is repetition in the right hand part of a rhythmic figure - a quarter and an eighth, and in the middle - two eighths separated by pauses, which is further aggravated by the monotonous texture of the accompaniment throughout the entire piece. In the extreme parts, the development and variety of wonderful expressiveness, flight, and soft aspiration of the melody will be helped by the dynamics and subtle articulatory instructions set by the author. These parts should be performed as if “in one breath”, to achieve gradual dynamics, melodious legato in bars 1-5, 10-13. Expressive pronunciation of “talking” leagues (bars 6-9, 14-17) will help to identify lively speech intonations. It's the same in the reprise. In the middle part of the piece and the coda, the student must find a subtle, “breathing” melody, monitor the flexibility of intonation and the continuity of development of the music. In the dynamics, accurately presented by the author, the climax occurs at 24-25 bars.
The left hand part has its own difficulties - in each measure, in a group of repeated two eighths, soft support falls on the first, which should not interfere with the continuity in the development of the music.
When playing a piece with both hands, make sure that the melody and accompaniment are consistent. The left part always followed the right, like a thread following a needle, and the change of harmonies in each measure was heard.
For sound evenness and identification of articulation, it is advisable to play all thirds in the accompaniment only with 2 and 4 fingers, and the melody of the middle part with 2 and 3.
The pedal can be taken on strong beats and a little thicker (but not longer) at the climaxes with a soft touch of the foot to the pedal foot not to the bottom, so as not to cause the appearance of unnecessary overtones and promote the transparency of the music.

10. Mazurka

Polish name folk dance“Mazurka” comes from “Mazur”, the name of the inhabitants of Mazovia. The mazurka is characterized by a three-beat meter and rhythm with frequent shifts of emphasis to the second and third beats of the measures. These features must be taken into account by the performer. In the middle section of the dance, from bar 19, the accent is emphasized first, and then in bars 32 and 33 and sf on the third beat. The second beat is often noted - tenuto on the half (bars 1-4 and further in similar places), as well as a short league (bars 5, 13, 15). In some cases, both the second and third beats can be emphasized: for example, in measures 19 and 23, you need to softly show the second beat in the right hand part, and then the emphasis in the left on the third. At the same time, one should not forget about the strong beats, find their “balance” with syncopations.
Scrupulous work is required on the pronunciation of the short league and staccato in the 5th bar, staccato in the 7th bar, the dotted line in the 16-18 bars, the combination of staccato in the right hand part and tenuto in the left (the first beat of bars 1-4 and further in similar fragments).
The dynamics change due to changes in performance situations: it gradually intensifies in bars 21-23, 23-26, 28-31, and in bars 5, 19, 23, 27 and 31 it is associated with a sudden change in mf-p.
The combination of lively rhythm, clear articulation and dynamics can lead to an interesting interpretation of the mazurka, a graceful, graceful dance.
A clear, precise touch of the selected fingertips on the piano keyboard, a slow tempo, a clear hearing of harmony, carefully selected fingering, as well as pedaling, which helps to mark either the downbeat or syncopation, will complete the work on interesting play.
11. Russian song

“Russian Song” is based on the original folk melody “You are my head, my little head.” This is an example of Russian folk subvocal polyphony, in which four-voice alternates with two- and three-voice.
With a constant melody, the music varies due to the moving bass and echoes.
The song is written in periodic alternating meter alternating 6/4, 4/4 and 2/4 (except for the last six bars). To make the meter understandable to children, the author put 2/4 everywhere, so you need to read 6/4 as 3 times

I've already addressed this wonderful work Here:

Today all the pieces from this album will be performed by the Gnessin Virtuosi Chamber Orchestra. Artistic director and conductor Mikhail Khokhlov. Videos made using drawings young artists IV children's festival arts "January evenings" (2010)

In March 1878, P.I. Tchaikovsky arrived at the estate of his sister Alexandra Ilyinichna Davydova.

AND Menie A . I. Davydova
Now the museum of P.I. Tchaikovsky and A.S. Pushkin

He fell into Kamenka unexpectedly, out of the blue, and created a joyful commotion. Alexandra Ilyinichna’s children gave him such a concert that he had to cover his ears. Again the house was filled with “sweet, heavenly” sounds. Pyotr Ilyich settled comfortably in his room and was already scribbling something at his desk. A few days later he let slip:

Now, these birds,” he pointed to the children, “certainly want me to write “every last bit” in their album. I'll write, don't be afraid. I’ll write and we’ll play everything!

And he wrote for the “Children's Album” and played them with children.

Various children's games, dances, and random impressions found their place in the album. Music is both happy and sad ...

Morning prayer

Lord God! Save, warm:
Make us better, make us kinder.
Lord God! Save, save!
Give us the power of your love.

Winter morning

Mother

Mom, very, very
I love you!
I love you so much that at night
I don't sleep in the dark.
I peer into the darkness
I'm hurrying Zorka.
I love you all the time
Mommy, I love you!
The dawn is shining.
It's already dawn.
No one in the world
There is no better mother!

Kostas Kubilinskas

Horse game

I'm flying on my horse like a whirlwind,
I really want to become a brave hussar.
Dear horse, riding on you,
I gallop across the meadow dashingly with the breeze.

Brand new, beautiful soldiers just attract you. They are just like the real thing, you can line them up and send them to the parade. So they know how to march like real people, and it’s so cool that you just feel like marching with them.

March of the Wooden Soldiers

We are wooden soldiers
We march left and right.
We are the guardians of the fairy gates,
We protect them all year round.
We march clearly, bravo.
We are not afraid of obstacles.
We protect the town
Where the music lives!

While playing, children invent the most incredible stories. Looking at them, Pyotr Ilyich came up with his own story and told it to the children, but not just told it. This story fit into three plays, which the children heard.

The first story told about a girl Sashenka, who loved to play with her doll. But suddenly the doll got sick. The doll lies in the crib, complaining. Asks for a drink.

Doll disease

The girl is very sorry for her doll. Doctors are called to see her, but nothing helps. The doll is dead.

The play "The Doll's Illness" is followed by "The Doll's Funeral".

Everyone came to the funeral, all the toys. After all, they loved the doll so much! A small toy orchestra escorts a doll: The monkey plays the trumpet. Bunny is on the drum, and Mishka hits the timpani. Poor old Teddy bear, he was completely wet from tears.

Doll funeral

The doll was buried in the garden, next to a rose bush, and the entire grave was decorated with flowers. And then one day, my father’s friend came to visit.

He had some kind of box in his hands.

- This is for you, Sasha! - he said.
“What is it?” Sashenka thought, burning with curiosity.

An acquaintance untied the ribbon, opened the lid and handed the box to the girl...

There lay beautiful doll. She had big ones blue eyes. When the doll was rocked, the eyes opened and closed. The pretty little mouth smiled at the girl. Blonde curly hair fell on her shoulders. And from under the velvet dress white stockings and black patent leather shoes were visible. A real beauty!

Sashenka looked at the doll and couldn’t get enough of it.

- Well. What are you doing? Take it, it’s yours,” said dad’s friend.

The girl reached over and took the doll out of the box. A feeling of joy and happiness overwhelmed her. The girl impulsively pressed the doll to her chest and spun around the room with it, as if in a waltz.

- What a joy to receive such a gift! - thought Sasha.

New doll

The petals have grown cold
Open lips, childishly moist, -
And the hall floats, floats in lingering
The melodies of happiness and melancholy.
The shine of chandeliers and the ripple of mirrors
Merged into one crystal mirage -
And the ballroom wind blows,
The warmth of the fragrant fans.

I. Bunin

Waltz

Mazurka

“I grew up in the wilderness, from my earliest childhood, I was imbued with the inexplicable beauty of the characteristic features of Russian folk music,” wrote Tchaikovsky. The composer's childhood impressions, his love for folk song, the dance is reflected in three plays"Children's album": these are "Russian Song", "A Man Playing a Harmonica" and "Kamarinskaya".

Russian song Kamarinskaya

In Kamarinskaya the balalaika tune is imitated. And it was written in the form of variations, which is very characteristic of Russian music.

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Discipline: Analysis of a musical work

Analysis of the three-part form of the musical work "New Doll"

1. Information about the composer and his work

Tchaikovsky Pyotr Ilyich (1840-- 1893), composer, conductor, teacher.

Born on May 7, 1840 in a village near the Kama-Votkinsk plant (now the city of Votkinsk, Udmurtia) in the family of a mining engineer. In 1850, the family moved to St. Petersburg, and Tchaikovsky entered the School of Law, from which he graduated in 1859.

He received the rank of titular councilor and a position in the Ministry of Justice. But his love for music turned out to be stronger - in 1862 the young man passed the exams at the then newly opened St. Petersburg Conservatory. In 1863, he left the service, and after graduating with a silver medal from the Conservatory (1866), he was invited to take the position of professor at the Moscow Conservatory.

In 1866, Tchaikovsky wrote the First Symphony ("Winter Dreams"), in 1869 - the opera "The Voevoda" and the fantasy overture "Romeo and Juliet", in 1875 - the famous First Piano Concerto, in 1876 -- Swan Lake ballet".

At the end of the 70s. the composer experienced a severe mental crisis associated with an unsuccessful marriage, and in 1878 he left teaching. Nevertheless, it was in this year that one of his best works was created - the opera “Eugene Onegin” based on the plot of A. S. Pushkin.

The real pinnacle was opera" Queen of Spades"(1890), also based on the plot of Pushkin. In 1891, Tchaikovsky wrote his last opera, Iolanta. He also composed music for the ballets: The Sleeping Beauty, 1889; The Nutcracker, 1892. The Rise of Tchaikovsky - the symphonist appears in his Sixth Symphony (1893).

The composer constantly turned to small forms. He is the author of 100 romances, which are pearls of vocal lyrics, as well as more than 100 piano pieces (including the cycles "The Seasons", 1876, and "Children's Album", 1878). Tchaikovsky's work was highly appreciated during his lifetime - in 1885 he was elected director of the Russian musical society, in 1892 became a corresponding member of the French Academy fine arts, in 1893 - an honorary doctorate from the University of Cambridge.

Pyotr Ilyich spent the last years of his life in Klin near Moscow, where in 1892 he purchased a house (since 1894 the composer’s museum).

2. Cycle characteristics

The time of creation of the "Children's Album" by P.I. Tchaikovsky.

"Children's Album" by P.I. Tchaikovsky refers to a cycle of piano pieces.

The composer's idea of ​​writing a children's cycle can be dated back to February 1878. Tchaikovsky was traveling abroad. In one of his letters to friends, he reports his desire to create a small collection of easy plays for children to perform. The vacation was completely over in May 1878. Musical numbers interconnected in small microcycles. Tchaikovsky hid the depth of the subtext and the difficult life period under melodic intonations. "Children's Album", the creation of which is connected with the family of the composer's sister, deserves to be called a masterpiece.

Analysis of the plays included in the "Children's Album" by P.I. Tchaikovsky

With extraordinary sensitivity and a subtle understanding of child psychology, the composer reflected in “Children's Album” the life and everyday life of the children of the environment that surrounded him every day. The "Children's Album" contains 24 plays that are not connected by a single theme. All the plays in the cycle are programmatic, each containing a specific plot and living poetic content. The collection captures a wide range of images. This:

paintings of nature - “Winter Morning”, “Song of the Lark”.

children's games - "Game of Horses", "Doll Illness", "Funeral of a Doll", "New Doll", "March of the Wooden Soldiers".

The characters of Russian folk tales - "Nanny's Tale", "Baba Yaga", and Russian folk art - "Russian Song", "A Man Playing the Harmonica", "Kamarinskaya" are vividly depicted.

songs of other nations - “Italian song”, “Old French song”, “German song”, “Neapolitan song”.

The cycle contains elements of figurativeness - "The Organ Grinder Sings" and onomatopoeia - "The Lark's Song".

Tchaikovsky, without resorting to simplification, depicts the rich inner world of a child in the plays “Morning Reflection”, “Sweet Dream” and “Chorus”.

Plays included in the "Children's Album":

1. Morning prayer

2.Winter morning

3.Horse game

5.March of the wooden soldiers

6.Doll disease

7.Doll funeral

8.New doll

9.Waltz10.Mazurka

11.Russian song

12. A man plays the harmonica

13.Kamarinskaya

15. Italian song

16.An old French song

17.German song

18.Neapolitan song

19. Nanny's tale

20.Baba Yaga

21.Sweet Dream

22.Song of the Lark

23. The organ grinder sings

24.In the church

3. Holistic musical theoretical analysis of the work being analyzed

musical piece by Tchaikovsky composer

The character and programming of the play "New Doll".

The play "New Doll" is a subtle psychological sketch - a girl's joy over a wonderful gift - a new doll.

The play is very joyful, fast-paced and flighty. The girl is so happy about her new toy! Together with her doll, she spins, dances and probably feels very happy. The performing means are rhythmic and textural monotony: in the extreme parts of the play there is repetition of a rhythmic figure - a quarter and an eighth, and in the middle - two eighths separated by pauses. In the extreme parts, the development and variety of wonderful expressiveness, flight, and soft aspiration of the melody will be helped by the dynamics and subtle articulatory instructions set by the author. These parts are performed as if “in one breath”, achieving gradual dynamics.

In the middle part of the piece, the “breathing” melody can be traced through the flexibility of intonation and the continuity of development of the music. In the dynamics, accurately presented by the author, the climax occurs at 24-25 bars. Without changing the general joyful mood, pauses appear in the melody between short motifs of two sounds, conveying a kind of rapid breathing. By the end of the middle part the excitement subsides; the music of the first movement returns.

"New Doll" is a program play. Its title “programs” the mood and content; there is already an idea of ​​what to expect before listening to the first sounds of the piece.

Musical analysis of the play.

You can hear emotional feelings in the melody, the girl’s joy for her new doll.

The key of the work is Bb-dur (B b major), with a key of 2 signs-B? mi?

The size of the work is 3/8

Three-part play form

Tempo-Allegro (coming soon)

3) Structural analysis period.

The play has a period of non-square structure.

Thematically, parts 1 and 3 are similar, because part 3 is a repeat of part 1. Part 2 is the middle of the entire play (the climax).

The main key of the play "New Doll" is Bb-dur. During the performance of the work, this tonality undergoes virtually no changes caused by deviations and modulations.

The work has a rhythmic motif. A characteristic rhythmic formula, an abstract aspect of the melody.

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