Stages of working on polyphony in music school. Working on polyphony - methodological page - assol

« Solfeggio" is a beautiful Italian word, which was formed from the names of two notes - “sol” and “fa” and translated means “singing according to notes”. This musical discipline, whose main task is development of musical ear– the main instrument of any musician.The IntellectUm DM Center invites you to take part in the I International Summer Theoretical Olympiad in Solfeggio “Vivat, solfeggio!” and answer questions on music theory.

Olympiad participants: students of children's music schools, children's art schools and other educational institutions and institutions of additional education. Participation is individual.

Age categories of participants:

Application deadline: from May 17 to September 6, 2018 inclusive.

You are given 10 days to complete the tasks. Summing up is monthly; on the 22nd of each month, in the Results section, the results of work sent no later than the 16th of the same month will be posted (that is, if you sent answers on June 16 and earlier, then on June 22 your result will be reflected in summary table, if you sent the answer on June 17 and later (before July 16), then your result will be reflected in the additions made to the final table on July 22). The final results will be announced no later than September 22.

To participate in the Olympiad you must:

2. Register on our website (if you have not registered previously).

3. Pay the registration fee for participation in the Olympiad (100 rubles per participant). All methods of paying the registration fee are on the website in the PAYMENT section.

4. Submit an application for participation, attaching a receipt of payment. The application form is located below (it becomes available if you log into the site using your username and password). Responses without applications will not be accepted!!! The registration fee for a group of participants can be paid in one sum!

5. On the first day of the Olympiad at 8:00 Moscow time, links will be provided via the internal mail of our website to access the tasks, where you will familiarize yourself with the rules for formatting answers. You can also download the Olympiad tasks If there are problems downloading assignments, you need to write to the administrator by email This email address is being protected from spambots. You must have JavaScript enabled to view it. and assignments will be sent to you by email.

Based on the results of the Olympiad, winners, prize-winners and participants will be determined, who will be awarded diplomas and certificates. Coordinators and teachers will be sent thanks and diplomas. IN in electronic format Diplomas will be sent to winners and runners-up, as well as their teachers and coordinators free of charge. The cost of an electronic certificate for the participant and their teachers and coordinators is 20 rubles. Award materials (diplomas, certificates, commendations and diplomas for teachers and coordinators) in paper form must be ordered separately. The cost of a paper diploma/certificate is 150 rubles per participant. Teachers and coordinators who have registered 5 or more people have the right to order certificates and thanks in paper and (or) electronic form IN THEIR NAME free of charge. All diplomas, commendations and certificates have a number and series. Payment for award materials is made only after summing up the results.

For residents of the CIS countries and the Far Abroad, when ordering a free diploma (certificate) for a teacher (in the case of five or more participants in the event), the diploma is sent free of charge by simple mail! If you want the document to be sent by registered mail, you must pay an additional 100 rubles when applying for a diploma. Award documents in paper form for residents of the CIS and Far Abroad countries cost 250 rubles.

Position

IV All-Russian Olympiad in solfeggio and musical literature

within the framework of the international art forum "St. Petersburg Spring"

Rollssia, St. Petersburg,

Olympic day:March 23 (last Friday before school holidays)

Venue address:

Center for Extracurricular Activities of the Central District. st. Pravdy, 8, (metro Vladimirskaya)

POSITION

On holding the All-Russian Olympiad in solfeggio and musical literature

General provisions

The Olympiad is held for students of children's music schools, music departments art schools, centers children's creativity and everyone who wants to educational programs: “Solfeggio” (five-year and seven-year terms of study), “Musical Literature” (four-year term of study). The Olympiad is included in the program of the International Art Forum and Competition “St. Petersburg Spring”

Support for the Olympiad:

Non-profit organization "St. Petersburg Foundation for the Development of Culture and Art";
Institute of Music, Theater and Choreography of the Russian State Pedagogical University named after. A.I. Herzen;
GBU DO Center for Extracurricular Activities of the Central District of St. Petersburg.
Information support in Russia and the CIS - newspaper "Musical Klondike"

Goals and objectives:

increasing students' interest in musical theoretical subjects;
improving the quality of teaching students in subjects of the musical theoretical cycle;
identification of capable and gifted students;
improving the professional and pedagogical skills of teachers.

Dates and venue:

Center for Extracurricular Activities of the Central District of St. Petersburg, st. Pravdy, 8. (m. Vladimirskaya)

The following nominations have been announced:

Nomination I - “Solfeggio”;
Nomination II - “Musical Literature”.

Participation in both two and one nomination is possible.

Nomination I “Solfeggio” is carried out for students of 4-7 (7-year study period) and 2-5 (5-year study period) classes.

Competition groups:

Group I - grades 4/2,
Group II - grades 5/3,
Group III - grades 6/4,
IV group - 7/5 grades.

Nomination II “Musical Literature” - is carried out for students of 4-7 (7-year study period) and 2-5 (5-year study period) classes.

Competition groups:

Group I - grades 4/2, first year of study in the subject,
Group II - grades 5/3, second year of study in the subject,
Group III - grades 6/4, third year of study in the subject,
Group IV - grades 7/5, fourth year of study in the subject.

Program of requirements for nominations:

The level of complexity of all tasks meets the requirements of program standards for solfeggio and musical literature for institutions of additional cultural education.

Methodological questions regarding the Olympiad tasks can be asked to the Olympiad methodologist after registering the application.

Nomination I “Solfeggio”:

Group I- 4th grade (7-year term of study), 2nd grade (5-year term of study)

The competition task includes:

Dictation (may contain sketches, “tips”). Performed 8 times. Volume - 8 bars. Keys - major up to 3 signs, minor up to 2 signs.
Auditory analysis (scales, intervals, chords). Only ten elements are performed; 2 plays.
Theoretical tasks (construct chords, intervals from sound, determine time signature).

Group II- 5th grade (7-year term of study), 3rd grade (5-year term of study)

Dictation. Performed 8 times. Volume - 8 bars. Keys - major up to 4 signs, minor up to 3 signs.
Auditory analysis: scales, intervals, chords from sound; harmonic sequence (5-6 chords) in one key, 2 plays.
Theoretical tasks (build a sequence of chords in one key - 8 chords, group durations and arrange such features, correct errors in the recording and designation of chords, intervals and their inversions, enter the missing sound to get a given chord, etc.).

III group- 6th grade (7-year term of study), 4th grade (5-year term of study)

Dictation. Major keys up to 5 signs, minor keys up to 4 signs. Performed 8 times.
Auditory analysis: scales, intervals, chords from sound; determine and record a mixed harmonic sequence (8 elements) in one key, 2 plays.
Theoretical tasks (find and note in the proposed musical examples the movement of the melody along the sounds of the chords, build chords in the specified key, connect the intervals and their resolution with arrows).

IV group- 7th grade (7-year term of study), 5th grade (5-year term of study)

Dictation. Performed 8 times. Major keys up to 6 signs, minor keys up to 5 signs.
Auditory analysis (scales, intervals, chords from a randomly selected sound). Record and build a harmonic sequence in key (10 chords), 2 plays.
Theoretical tasks (define and label chords, modes, resolve intervals).

Nomination II “Musical Literature”:

Students of 1st, 2nd, 3rd, 4th years of study in the subject “Musical Literature” take part in the nomination.

The competition task includes a test with theoretical questions (10 questions) and a quiz (10 fragments) with audio and video fragments musical works in accordance with the course program.

Group I- 1 year of study (grades 4/2)

Theoretical questions: expressive means of music, musical instruments, symphonic orchestras and folk instruments, dance genres, program music.
Quiz: E. Grieg: suite “Peer Gynt” (Suite No. 1 and Solveig’s song from Suite No. 2); M. Glinka: opera “Ruslan and Lyudmila” (Chernomor March, Rondo Farlafa); P. Tchaikovsky: ballet “The Nutcracker” (March, Waltz of the Flowers, Dance of the Sugar Plum Fairy, Dance of the Shepherds, Pas de deux - Adagio), “Seasons” (“Snowdrop”, Bar Carol, “On Troika”), “ Children's Album" ("Game of Horses", "March wooden soldiers", "The Doll's Disease", "Neapolitan Song", Waltz, "Baba Yaga", "Song of the Lark"); M. Mussorgsky: “Pictures at an Exhibition” (“Ballet of Unhatched Chicks”, “Gnome”, “Hut on Chicken Legs (Baba Yaga)”, “Walk”); L. Boccherini: Minuet; M. Oginsky: Polonaise; D. Verdi: March from the opera “Aida”; C. Saint-Saens: suite “Carnival of Animals” (“Characters with long ears", "Aquarium", "Royal March of the Lion", "Swan").

Group II- second year of study (grades 5/3)

Theoretical questions: the work of foreign composers - J. S. Bach, J. Haydn, W. A. Mozart, L. Beethoven, F. Schubert.
Quiz: J. S. Bach: Two-voice inventions (C-dur, F-dur, H-moll), Prelude and Fugue in C-moll from KhTK - Volume I, “French Suite” in C-moll (Allemande, Sarabande, Air, Menuet, Gigue), Toccata and fugue d-moll; J. Haydn: Symphony No. 103 (I movement), Sonata for piano e-moll; W. A. Mozart: Symphony No. 40 (complete), Piano Sonata A major (complete), opera “The Marriage of Figaro” (Overture, Figaro’s cavatina, Figaro’s aria, Cherubino’s aria from Act I “The Heart is Exciting”, aria Barbarins); L. Beethoven: Symphony No. 5 (complete), Piano Sonata No. 8 in c-moll “Pathetique” (complete), Overture “Egmont”; F. Schubert: Symphony No. 8 (I movement), Piano music (Impromptu Es-dur, Musical moment in f-moll, Waltz in h-moll), Songs (“Margarita at the Spinning Wheel”, “The Forest King”, “Trout” , "Serenade"); F. Chopin: Mazurkas (which are described in the textbook), Waltz No. 7 cis-moll, Polonaise A-dur, Preludes (A-dur, e-moll,) Nocturne F-moll, Etude No. 12 c-moll op. 10.

III group- third year of study (grades 6/4)

Theoretical questions: the life and work of composers M. I. Glinka, A. S. Dargomyzhsky, A. P. Borodin, M. P. Mussorgsky, basic information about the activities of the “Mighty Heap”.
Quiz: M. Glinka: the opera “Ivan Susanin” (fragments that are described in the textbook), “Kamarinskaya”, “Waltz-Fantasy”, romances and songs (“I remember a wonderful moment”, “Lark”, “A passing song” "), overture to the opera "Ruslan and Lyudmila", "Aragonese Jota"; A. Dargomyzhsky: the opera “Rusalka” (fragments that are described in the textbook), romances and songs (“I’m sixteen years old”, “I’m sad”, “Old Corporal”, “Worm”, “Titular Councilor”, “And bored” , and sad"); M. Mussorgsky: opera “Boris Godunov” (fragments that are described in the textbook), piano suite “Pictures at an Exhibition”, “Flea”, “Children’s Room”, introduction to op. “Khovanshchina” (Dawn on the Moscow River); A. Borodin: opera “Prince Igor” (fragments that are described in the textbook), Symphony No. 2 (I part), romance “For the Shores of the Distant Fatherland.”

IV group- fourth year of study (grades 7/5)

Theoretical questions: life and work of N.A. Rimsky-Korsakov, P.I. Tchaikovsky, S.S. Prokofiev, D.D. Shostakovich.
Quiz: N. Rimsky-Korsakov: opera “The Snow Maiden” (fragments that are described in the textbook), symphonic suite “Scheherazade”; P. Tchaikovsky: opera “Eugene Onegin” (fragments that are described in the textbook), Symphony No. 1 (entirely; S. Rachmaninov: Piano Concerto No. 2 (I part), Prelude cis-moll op. 3 No. 2, Etude-picture a-moll op.39 No. 6, romances (“Don’t sing, beauty”, “ Spring waters"); A. Scriabin: Symphony No. 3 " Divine Poem"(I part “Struggle”; introductory themes, main, final parts), Etude dis-moll op. 8 No. 12, Preludes (E-moll Op. 11 No. 4, D major Op. 11 No. 5); S. Prokofiev: Symphony No. 7 (I and IV movements), cantata “Alexander Nevsky” (No. 2, 4, 5, 6), ballet “Cinderella” (Waltz “Cinderella’s Departure for the Ball”, Gavotte, Pas de Chal , “The Hours”, Gallop, “Amoroso”), March from the opera “The Love for Three Oranges”, ballet “Romeo and Juliet” (“Dance of the Knights”, “Juliet the Girl”); D. Shostakovich: Symphony No. 7 “Leningrad” (I movement), Romance from the film “Gadfly”; A. Khachaturian: “Dance with Sabers” from the ballet “Gayane”, Waltz from the music to M. Lermontov’s drama “Masquerade”;

Organization of the Olympiad:

To resolve organizational issues during the preparation and holding of the Olympics, an organizing committee is being formed.

Powers of the organizing committee:

preparation and holding of the Olympics;
organization of accommodation for participants.
determination of material for the Olympics;
organizing the work of the Olympic jury;
organization of the award ceremony;

The work of the Olympiad jury:

The jury of the Olympiad is formed by the Organizing Committee of the Olympiad from among leading specialists from higher, secondary specialized educational institutions, as well as educational institutions of additional education for children in the field of musical theoretical disciplines.

The highest score for each competition task is 10 points.

When evaluating a competitor, the following are taken into account:

correct answers in each of the main tasks;
compliance of the content level of the response with the requirements of program standards for institutions of additional cultural education;
the participant's final cumulative GPA.

The jury has the right:

divide, award and not award prizes;
reward participants with special certificates (prizes).

Awards:

Winners, prize-winners and diploma holders of the Olympiad are determined for each nomination, according to the rating of the number of points scored.
The winners of the Olympiad who took 1st, 2nd, 3rd places in each nomination and in each age group, the title “Laureate” of 1st, 2nd, 3rd degree is awarded with the presentation of a diploma.
The winner who received highest score, it is possible to award the title of Grand Prix of the competition.
Participants who are not included in the number of Laureates receive the title “Diplomat” of 1,2,3 degrees, those who complete less than 50% of the tasks receive the title “Participant”;
All participants of the Olympiad receive diplomas and medals
Teachers who have trained two or more participants in the Olympiad receive certificates.
Institutions that took an active part are provided with certificates of gratitude

FINANCIAL CONDITIONS OF PARTICIPATION:

All participants independently organize and pay for travel to St. Petersburg and back.

By organizational reasons, hotel accommodation is provided by the organizing committee in an accredited hotel of the competition. Purchasing an accommodation package for the Olympiad and paying the registration fee is required.

It is possible to receive a discount for participation in the second nominations (*registration fee for nomination, see below)

The package price includes:

Accommodation at the Azimut-Fontanka Hotel **** in 2/3 bed rooms. Main building "Azimuth" **** - 3950 rubles, including registration of an application 400 rubles per person
Building "A-Fontanka"*** - 3550 rub. , including registration of the application 350 rubles per person

*It is possible to extend your stay at the hotel (1400-1600 RUR/day - per person)

Breakfast - buffet
Wi-Fi in the hotel
Attendance at all Olympiad events: opening ceremony, The cultural program during competition day, awarding diplomas and medals, round table with jury members.
For teachers - pedagogical certificates of the theoretical Olympiad of the international art forum “St. Petersburg Spring”
Thanks to the institutions that took an active part.

The registration fee for the nomination for participants is 2300 rubles. for each Olympiad participant in one Olympiad nomination.

*For participation in two nominations / or two children from the same family - a 10% discount is possible for individual payers

10.00 - registration of Olympiad participants (TsVR foyer, 1st floor). Additional payments, registration of closing and travel documents in the ORGANIZING COMMITTEE.
10.30 - Grand opening Olympiads (TsVR assembly hall, 3rd floor)
11.00 - 16.00 - holding the Olympiad in nominations "Solfeggio", "Musical Literature"
18.00 - closing of the Olympiad. Award ceremony. Round tables with the jury - based on the results of the work.

Program cost: 1500 rub. per person.

Your additional expenses on the train:

entrance tickets to museums (up to 700 rubles per person)

*Additionally can be provided (for a group of 15 people or more):

Transfers to the Olympics and back - 600 rubles.

Excursion program - 1500 rub.

17.30 - Meeting in the hotel lobby (after registration)
18.00 - Sightseeing tour“Brilliant Evening Petersburg” (2.5 hours).
Bus tour with exits.
Peter and Paul Fortress and the house of Peter I, the spit of Vasilyevsky Island from majestic building Exchange and Rostral columns, Senate square with the Bronze Horseman and the monumental St. Isaac's Cathedral, Admiralty, Palace Square, Winter Palace, Field of Mars and Summer Garden, Nevsky Prospect, Arts Square with the buildings of the Mikhailovsky Palace (Russian Museum) Mikhailovsky Theater, Singing Bridge and the building of the Imperial Chapel.
The second half of the excursion will take place in beautiful evening lighting, “Evening Petersburg” - which will undoubtedly add to the impressions!

10.00h. - meeting with the guide in the hotel lobby, departure for the Museum Day with full bus escort, a story from the guide on the bus, a trip to the best residence of the Russian emperors.

Excursion to the Pushkin Lyceum. Tour inside the museum: Big hall, Newspaper room, Library, classrooms, examination halls, magazines with student evaluations - this is very accessible to both children and adults - and everyone is interested.

Excursion to the Catherine Palace Museum (with a visit to the unique amber room).

14-15h. An organized lunch in Tsarskoye Selo is possible*. Return, transfer to the hotel / Moskovsky railway station. (estimated arrival at Moskovsky station at 16.30-17.00)

Methodical report of a piano teacher - page No. 1/1

Methodological report

piano teacher

Achegu V.B.

(MBOU DOD Children's Music School No. 5, Murmansk)

Features of working on polyphony in piano class.

The spirit of polyphony generally lies

at the heart of musical art,

based on intonation

S. Skrebkov.

“Different eras hear differently,” wrote R. Schumann.

Indeed, musical consciousness, the auditory attitude towards the perception of music depend on the dominant type of musical presentation, on the character musical thinking composers of one era or another.

Every musician or music lover, having come into contact with the music of the previous and our centuries, is convinced that the texture here is more saturated with simultaneously sounding meaningful melodic lines, rhythms, timbres, harmonic layers than in the works of composers of past centuries. In a word, modern music requires listeners, first of all, to have multifaceted, polyphonic hearing.

The formation of polyphony began in the depths of the folk musical creativity under the primitive communal system, in cultures ancient world. The emergence of polyphony is due to the development of human consciousness, speech, and thinking; it is associated with the formation of diversity human perception(extra-musical and musical).

From the very beginning, both horizontal and vertical were present in the structure of early polyphony. Moreover, according to musicology, the horizontal, polyphonic principle was more pronounced than the harmonic one. Thus, the ability of polyphonic perception has been inherent in the creators and performers of music from time immemorial.

The historical development of musical thinking determines the formation and development of polyphonic and homophonic-harmonic structures, their interaction as opposites in dialectical unity and their integration into complex polyphony. Exaggerated development of one type at the expense of another has a negative impact on music and its accessibility to the listener.

Based on this, it can be argued that teaching music must necessarily include both polyphonic and homophonic-harmonic types of polyphony: one cannot be understood in isolation from the other; Without mastering both, a full perception of music is impossible.

The concept of polyphony, polyphony in in a broad sense reflect the general property of complex polyphony, to which most musical works belong. Their perception requires much more developed abilities than purely polyphonic or homophonic-harmonic works. The ability to hear the simplest polyphony - necessary condition formation of a full-fledged perception of complex polyphony.

Therefore, we can assume that it is advisable to develop musical perception cyclically and in the following sequence:

monophony + elementary polyphony;
monophony + polyphony + homophony;
monophony + polyphony + homophony + complex polyphony.

basis musical perception is hearing music. But the musical and aesthetic perception of music is provided not just by hearing, but by the ability of emotional experience and musical thinking.

Since polyphonic music exists, then ear for music, and human musical thinking have the prerequisites for the perception of polyphonic specificity.

It is known that monophonic music is perceived by rhythmic intonation, modal, timbre, and syntactic complexes. In polyphony, in addition to the indicated complexes, we encounter other, more complex structures - polyphonic and harmonic. They are also reflected by auditory consciousness as integral objects, and, of course, in a more complex way, at a higher level than when perceiving monophonic music.

The ability to fully hear and perceive polyphony must develop in a certain, psychologically determined sequence. Science distinguishes between such types of musical hearing as melodic and harmonic. Along with them, we can safely introduce the concept of polyphonic hearing.

By the concept of polyphonic hearing we understand the ability to hear, trace and correlate the movement of several simultaneously unfolding melodies, melodic lines, and, more broadly, textural layers. Polyphonic hearing, based on melodic hearing, provides hearing of the horizontal multi-composition of the musical texture, while harmonic hearing provides hearing of chords, their relationships and the entire vertical organization of the texture.

Any perception is associated with thinking. Musical perception is associated with musical-imaginative thinking - thinking, as a result of which the musical image of a work is realized and mastered. In the process of repeated perception of polyphonic works, not only their specific images are imprinted, but, what is especially important, generalized ideas are formed about polyphonic complexes of form, about polyphony as a specific type of music, and, finally, about polyphony as a property of polyphony.

Polyphonic thinking is manifested in the ability to differentiate and holistically represent the simultaneous development of several melodic lines, and more broadly, the parallel development of several textured layers with their polytonal, polymodal, polyharmonic, polyrhythmic, polytimbral richness. "Efficiency" of hearing in to a greater extent depends on the reverse impact of thinking on it: hearing is subtler, hears more differentiated if mental needs are highly developed, if the listener knows how to listen, what to pay auditory attention to. A person can hear and perceive polyphonic music only if he has developed polyphonic thinking.

The process of cognition and thinking causes cognitive, so-called intellectual feelings. They are also characteristic of polyphonic thinking: the perceiver experiences not only the beauty of musical construction, but also the very process of assimilating the content and form of the work.

Memory plays a huge role in the perception of polyphony, as in perception in general. Memorization is facilitated by the brightness and expressiveness of the thematic material and its structural simplicity. The most important factor in memorization is the emotional beginning, the consolidation of perceived musical images through their experience (and subsequently awareness).

Let us trace the stages of polyphonic perception:

The stage of vague, poorly differentiated, scattered perception. Perception lacks both emotionality and analytical-synthesizing activity. The student simply does not hear much; polyphonic voices are reflected in his consciousness in fragments, with little differentiation, and they are not united into coherent logical structures. Music seems to him obscure and unexpressive.
The second stage is characterized by in-depth auditory analysis, differentiated and holistic development of the elements of structure and figurative organization of a polyphonic work. A new generalized and holistic musical image is formed in the consciousness, which is gradually synthesized from the interactions and relationships of individual voices and themes. This is the specificity of polyphonic thinking at this stage of polyphonic perception.
The next stage is characterized by greater integrity of perception of a polyphonic work. Emotional reactions, due to the consciousness of logic, the meaning of the relationships between voices, become, as it were, “smart”. The spheres of feeling and reason come closer and merge in the recreation of an artistic image.

These three stages of musical perception transform into one another imperceptibly, gradually.

Polyphonic thinking and intellectual feelings in this process are very important aspects of musical perception.

However, in the process of guiding the development of students’ perceptual abilities, it is very important to ensure the correct correlation of children’s musical mental activity with emotional reactions to polyphonic music. Underestimation of this side gives rise to a rational attitude, dry rationalism, which has such a detrimental effect on the perception of any art, especially music. “An empty head can hide behind a fugue,” said R. Schumann. Emotionally emasculated works of a purely constructive nature cannot be used in musical teaching, because this contradicts the aesthetic essence of music as an art form that affects the listener, first of all, with its emotional and aesthetic content.

Working on polyphonic works is an integral part of learning piano performance. After all, piano music is all polyphonic in the broad sense of the word. Education of polyphonic thinking, polyphonic hearing, that is, the ability to discretely, differentiatedly perceive (hear) and reproduce on an instrument several sound lines that are combined with each other in the simultaneous development of sound lines - one of the most important and most complex sections of musical education.

Polyphony is a special sound of voices. Therefore, first of all, it is necessary to teach the child to hear one voice, to cultivate linearity. The student must hear its length, beginning and end, and hear the expressiveness of the voice. It is necessary to learn to play without “shouting”, accurately connecting durations; precise phrasing of motives, understanding the relationships of small links. The precise phrasing of motives and understanding of the interconnection of small links are important. The student must be able to work on intonation expressiveness. Distinguish voices using dynamics and instrumentation in work.

Modern piano pedagogy places great confidence in the musical intelligence of children. Based on the experience of B. Bartok, K. Orff, the teacher opens up an interesting and complex world of polyphonic music to the child from the first year of study at a music school.

The polyphonic repertoire for beginners consists of light polyphonic arrangements folk songs subvocal warehouse, close and understandable to children in their content. The teacher talks about how these songs were performed among the people: the singer began the song, then the choir (“podvoloski”) picked it up, varying the same melody. Taking, for example, a Russian folk song, the teacher invites the student to perform it in a “choral” way, dividing the roles: the student plays the learned part of the lead singer during the lesson, and the teacher, preferably on another instrument, since this will give each melodic line greater relief, “depicts” a choir that picks up the melody of the chorus. After two or three lessons, the student performs the “backing vocals” and is clearly convinced that they are no less independent than the melody of the lead singer. When working on individual voices, it is necessary to achieve expressive and melodious performance by the student. I would like to draw attention to this all the more because the importance of working on students’ voices is often underestimated; it is carried out formally and is not brought to that degree of perfection when the student can actually perform each voice separately as a melodic line. It is very useful to learn each voice by heart. By playing both parts alternately with the teacher in an ensemble, the student not only clearly feels independent life each of them, but also hears the entire piece in its entirety in a simultaneous combination of both voices, which greatly facilitates the most difficult stage of the work - the transfer of both parts into the hands of the student.

Further, the study of polyphonic plays of the Baroque era, among which the works of J. S. Bach occupy the first place, becomes especially important. During this era, the rhetorical foundations were formed musical language– musical and rhetorical figures associated with certain semantic symbolism (figures of a sigh, exclamation, question, silence, amplification, various forms of movement and musical structure). Familiarity with the musical language of the Baroque era serves as the basis for the accumulation of an intonation vocabulary of a young musician and helps him understand the musical language of subsequent eras.

The best pedagogical material for the education of polyphonic sound thinking of a pianist is the keyboard heritage of J. S. Bach, and the first step on the path to “polyphonic Parnassus” is the well-known collection called “The Notebook of Anna Magdalena Bach.” The small masterpieces included in the “Notebook” are mainly small dance pieces - polonaises, minuets and marches, distinguished by their extraordinary richness of melodies, rhythms, and moods. It is best to introduce the student to the collection itself, i.e., the “Note Book,” and not to individual pieces scattered across different collections. It is very useful to tell your child that the two “Music Notebooks of Anna Magdalena Bach” are a kind of homework music albums family of J. S. Bach. This included instrumental and vocal pieces of various types. These plays, both his own and those of others, are written in notebooks by the hand of J. S. Bach himself, sometimes by his wife Anna Magdalena Bach, and there are also pages written in the childish handwriting of one of Bach’s sons. The vocal works - arias and chorales included in the collection - were intended for performance in the home circle of Bach's family.

You need to understand well that Bach’s music is keyboard music and only secondarily organ music. Bach composed a lot for the clavier, and clavier is the German generic name for three keyboard instruments: harpsichord, clavichord and organ. And no matter how much these instruments differ from each other (especially the organ from the harpsichord), everything Bach created for three instruments is keyboard music. As for us who teach piano, due to the tradition to which we are heirs, the main priority here is to discuss the problems of playing Bach on the piano. That is why our main task is to find the answer to the question: “What exact steps in today’s piano pedagogy should be taken in order to make Bach both alive and stylistically authentic, so that his music, even in student performance, carries meanings as clear to the listener as like those that the music of Beethoven, Chopin or Prokofiev carries within itself?

Articulation.

Articulation is one of many expressive means V ancient music, and in particular, in the music of Bach. Articulation is often compared to diction, and this is a completely correct analogy. Although it by no means exhausts the entire spectrum of meanings related to performing articulation. The usual interpretation of this concept, which often comes down to a simple differentiation between legato and non legato, needs to be significantly expanded. In the book of one of Arthur Schnabel’s students it is written: “Articulation - in Schnabel’s deep understanding of this term - means identifying the musical “details” of a piece by all means available to the performer - duration of sound, dynamics, time distribution, etc. Articulation is a very subtle element in performance, much too subtle to be accurately recorded in the notes.” In general, everything said in this work about “melodic,” “harmonic,” “metric,” and “rhythmic” articulation is directly related to Bach. There are two main problems in our system of musical education. One of them concerns legato, which is given special attention in music school. increased attention, - and this is not the only, although one of the most important, ways of articulating a melody.

The second problem is related to the fact that our musical ear is formed mainly on the basis of harmonic four-voices. We don't think much about it, but something like this musical education gives rise to certain consequences, in particular, the inability of a child playing the piano to perceive music linearly. The central problem here is the method of communication between sounds, which is precisely determined by the choice of one or another articulatory technique. Thus, articulation is the most important way of organizing motives, phrases and thereby identifying the character, and ultimately constructing the form of a particular fragment or an entire work. It is important to emphasize that articulation is primary in relation to tempo, because in ancient music it was articulation that determined the tempo, and not vice versa. And it is precisely ignoring this dependence that leads in many editions to an incorrect definition of tempo. In addition, articulation plays important role in identifying the rhythmic pulse, rhythmic energy, that is, those qualities that are extremely significant in Bach’s motor music. Two interrelated aspects emerged. The first concerns the need to educate linear, “horizontal” hearing. The second aspect concerns articulation itself. This does not require a complete rejection of traditional ideas, however, our views on articulation need to be expanded and brought closer to modern trends.

Defenders of legato often refer to the fact that in the famous “Instructions” for the “Inventions and Symphonies”, written by Bach in his own hand in 1723, there is an indication of the need to master cantable art, that is, the skills of singing. But, according to Schweitzer, this provision applies only to two-voice Inventions, intended by Bach not for the harpsichord, but for the clavichord - an instrument on which such melodiousness was quite feasible. Of course, today no serious pianist would deny the enormous role of cantabile, as well as legato. However, the great interpreters of both baroque and romantic music used the most different types articulations, including portamento, marcato, and even non legato. And this is quite understandable, since at moments of highest expression it was often much more natural to use “recitation” rather than “singing” the melody.

So, the concept of legato itself should be interpreted not as one isolated means, but as a more or less wide range of means. There are a lot of gradations here. “You cannot think,” writes I. Braudo in his book “Articulation,” that articulatory techniques should always be considered as an arrangement from legato to staccato. You can build a palette of tools located around the legato line. These means obviously range from legatissimo to dry legato. Isaiah Braudo, our famous organist and teacher, who has devoted many years to studying this problem, also says that in each voice it is necessary to create conditions for autonomous, that is, different articulation, since this is what gives rise to sufficient relief in polyphony. The choice of technique for each voice should not be strictly determined, because it depends on the imaginary instrumental “analogue”, which is latently present in many of Bach’s keyboard works. When studying Bach, you need to look for different ways of articulation. There are many of them, but erudition and rich auditory experience in the field of mastering baroque music are required in order to choose in each specific case something that is suitable in style and, at the same time, allows you to perform a given fragment with proper expressiveness.

Tempo and metrhythm .

Moving on to the problems of tempo and metrhythm, do not forget that the choice of tempo in Bach’s music in many cases depends on the choice of articulation, so that if the articulatory technique changes, not only the sound, but also the tempo appearance of the work can become completely different. The sense of time in music is just as important as the sense of sound.

The question of the pulsation of rhythm in Bach's music is very important and complex. Substantive statements on this topic can be found in the work of Alexander Alexandrov and Mikhail Arkadyev. There, in particular, it says: “If the Viennese classics are characterized by the pulsation of the “main” metric beats in quarters in the sizes 2/4, 3/4, 4/4..., as well as the pulsation of measures in two-beat, three-beat, four-beat, etc. . structures, then Bach’s music is characterized by intra-bar “fine pulsation”. This constant, elastic pulse, which is the necessary internal core around which the entire musical fabric “weaves,” is always present in Bach.”

Pace.

It is worth paying attention to the fact that the Italian terms that we currently regard as tempo - for example, Allegro, Andante, Presto and others - were originally interpreted differently, and their meaning was significantly different from our current understanding. For most of Bach's contemporaries, such designations served as indications of the nature of the movement, or affect. Tempo designations were used not so much to determine the speed of movement, but to express emotional content.

The emphasis was more on mood, on the so-called "affect", than on direct indication of tempo. "Allegro" meant "fun", "active" (not "soon"); “Grave” – “seriously, strictly” (not “slowly”); “Allegretto” is “active and graceful with a touch of playfulness”; “Andante” - “passively, measuredly”; “Adagio” - “heartfelt”, etc. Let us formulate a method for determining tempo in Bach’s works. First of all, we will rely on what we see in the author’s text, and then turn to the editor’s instructions. Our own notations follow. Which we contribute during pedagogical work. In addition, we must not forget that one of the incomprehensible secrets of Bach's work is the extreme stability of his music to changes in tempo. The nature of the work in such cases, of course, changes, but this does not detract from it. artistic merit. And only Bach’s texts have this property.

Dynamics.

When performing Bach, in such an area as dynamics, we must limit ourselves to the use of the dynamic capabilities of the piano rather than expand these capabilities. Such self-restraint requires a certain auditory discipline and, of course, is not an easy task. Polyphony is music of a strictly style. And in Bach’s music, in particular, the stability of emotional states is important. Whereas traditional musical education accustoms one to the instability of such states and to constant dynamic changes. Thus, in in this case we must rebuild our inner emotional world and, accordingly, our attitude towards the instrument on which we have the good fortune to play Bach's music.

Bach's polyphony is characterized by polydynamics, and to reproduce it clearly, one should, first of all, avoid dynamic exaggerations and should not deviate from the intended instrumentation until the end of the piece. A sense of proportion in relation to all dynamic changes in any work by Bach is a quality without which it is impossible to convey his music stylistically correctly. Only through a deep analytical study of the basic laws of Bach's style can one comprehend the composer's performing intentions. All the efforts of the teacher should be directed towards this, starting with the “Notebook of Anna Magdalena Bach”.

Based on the material of the pieces from the “Note Book,” the student learns new features of Bach’s music, which he will encounter in works of varying degrees of complexity. For example, with the peculiarities of Bach rhythm, which is characterized in most cases by the use of adjacent durations: eighths and quarters (all marches and minuets), sixteenths and eighths (“Bagpipes”). Another distinctive feature of Bach’s style, which I. Braudo identified and called the “eight-piece technique,” is the contrast in the articulation of adjacent durations: small durations are played legato, and larger ones – non legato or staccato. However, this technique should be used based on the nature of the pieces: the melodious Minuet in d-moll, Minuet No. 15 in c-moll, and the solemn Polonaise No. 19 in g-moll are an exception to the “eighth-major rule.”

When performing vocal works by I.S. Bach (Aria No. 33 in F-moll, Aria No. 40 in F-Dur), as well as his chorale preludes (at a further stage of training), one must not lose sight of the fact that the fermata sign does not mean a temporary stop in these pieces, as in modern musical notation; this sign only indicated the end of the verse.

Melismas.

When working on Bach's polyphony, students often encounter melismas, the most important artistic and expressive means of music of the 17th-18th centuries. If we take into account the differences in editorial recommendations, both regarding the number of decorations and in their decoding, it becomes clear that the student will definitely need help and specific instructions from the teacher. The teacher must proceed from a sense of the style of the works being performed, his own performing and teaching experience, as well as available methodological manuals. We can recommend the article by L.I. Roizman “On the execution of decorations (melismas) in the works of ancient composers,” which examines this issue in detail and provides instructions from I.S. Bach. You can turn to Adolf Beischlag’s major study “Ornamentation in Music”, and of course, get acquainted with Bach’s interpretation of the performance of melismas according to the table compiled by the composer himself in “Wilhelm Friedemann Bach’s Night Notebook”, covering the main typical examples. Three points are important here:

Bach recommends performing melismas based on the duration of the main sound (with some exceptions);
All melismas begin with the upper auxiliary sound (except for the crossed out mordent and a few exceptions, for example, if the sound on which the trill or uncrossed mordent is placed is already preceded by the nearest upper sound, then the decoration is performed from the main sound);
Auxiliary sounds in melismas are performed on the steps of the diatonic scale, except in cases where the alteration sign is indicated by the composer - under the melisma sign or above it.

So that students do not treat melismas as an annoying hindrance in the play, it is necessary to skillfully present this material to them, to awaken interest and curiosity. For example, when learning Minuet No. 4 in G major, a student becomes familiar with the melody without first paying attention to the mordents written in the notes. Then he listens to the play performed by the teacher, first without decorations, then with decorations and compares. The guys, of course, prefer the performance with mordents. Let him look for himself, where and how they are indicated in the notes. Having found new icons (mordents), the student usually waits with interest for the teacher’s explanations, and the teacher says that these icons decorating the melody are an abbreviated way of recording melodic turns, common in the 17th - XVIII centuries. Decorations seem to connect, unify the melodic line, and enhance speech expressiveness. And if melismas are a melody, then they must be performed melodiously and expressively, in the character and tempo that are inherent in the given piece. To prevent melismas from being a “stumbling block,” you must first hear them “to yourself,” sing them, and only then play them, starting with slow tempo and gradually bringing it to the desired level.

A new step in mastering polyphony is acquaintance with the collection “Little Preludes and Fugues”, and from it many threads stretch to the “Inventions”, “Symphonies” and “HTK”. I would like to emphasize that when studying Bach’s works, gradualness and consistency are very important. “You cannot go through fugues and symphonies unless you have thoroughly studied the inventions and small preludes,” warned I. Braudo. These collections, in addition to their artistic merits, give the teacher the opportunity to deepen the student’s familiarity with the characteristic features of Bach’s phrasing, articulation, dynamics, voicing, and to explain to him such important concepts as theme, opposition, hidden polyphony, imitation and others.

The student became acquainted with imitation in the first grade of music school. In middle school, his idea of imitation expands. He must understand it as a repetition of the theme - the main musical idea - in a different voice.

Imitation is the main polyphonic way of developing a theme. Therefore, a thorough and comprehensive study of the theme, be it a Little Prelude, Invention, Symphony or Fugue, is the primary task in working on any polyphonic work of an imitative nature.

When starting to analyze a topic, the student independently or with the help of a teacher determines its boundaries. Then he must understand the figurative and intonational nature of the topic. The chosen expressive interpretation of the theme determines the interpretation of the entire work. That is why it is so necessary to grasp all the sound subtleties of the theme performance, starting from its first performance. While still studying pieces from Anna Magdalena Bach's Notebook, the student realized the motivic structure of Bach's melodies.

Speaking about intramotive articulation, the child should be taught to distinguish between the main types of motives:

Iambic motives, which go from weak to strong tenses;
The motives are trochaic, which begin on the strong beat and end on the weak beat.

When playing into a theme without accompanying voices, the child’s hearing must immediately be included in the “empty” pause so that he feels a natural breath in it before the unfolding of the melodic line. The feeling of such polyphonic breathing is very important when studying cantilena preludes, inventions, symphonies, and fugues.

The iambic structure of Bach's themes also determines the peculiarity of Bach's phrasing, which students must be aware of. Starting from a weak beat of the bar, the theme freely “steps over” the bar line, ending on a strong beat, thus, the boundaries of the bar do not coincide with the boundaries of the theme, which leads to a softening and weakening of the strong beats of the bar, subordinate to the inner life of the melody, its desire for semantic culminating peaks - main thematic accents.

Bach's thematic accents often do not coincide with metric ones; they are determined not by meter, as in classical melody, but by the inner life of the theme. The intonation peaks of Bach's theme usually occur on the weak beats. “In Bach’s theme, all the movement and all the strength rush to the main emphasis,” wrote A. Schweitzer. – On the way to him, everything is restless, chaotic; upon his entry, the tension is discharged, everything that precedes it immediately becomes clear. The listener perceives the topic as a whole with clearly defined contours.” And further, “... in order to play Bach rhythmically, one must emphasize not the strong beats of the bar, but those on which the emphasis falls in the meaning of the phrasing.” Students unfamiliar with the peculiarities of Bach's phrasing often replace the thematic accent with a bar accent, why the topic they fall into pieces, lose integrity and inner meaning.

Another essential feature of Bach's thematicism is the so-called hidden polyphony or hidden polyphony. Since this feature is common to almost all Bach melodies, being able to recognize it appears to be a critical skill that prepares students for more complex tasks.

It is necessary to draw the student's attention to the fact that Bach's melody often creates the impression of a concentrated polyphonic fabric. Such richness of a monophonic line is achieved by the presence of a hidden voice in it. This hidden voice appears only in the melody where there are leaps. The sound left by the jump continues to sound in our consciousness until the tone adjacent to it appears, into which it resolves.

Such a movement of the hidden voice will help to consolidate in the child’s mind a figurative name – “path”. Such a track should be performed sonorously, with support. The hand and finger are lowered onto the keys slightly from above, which results in a lateral movement of the hand. A voice repeating the same sound should be played barely audible. The student will use the same technique when working on more complex works.

Often teachers have a question: how to perform imitation - to emphasize it or not. There is no clear answer to this question. In each specific case, one should proceed from the nature and structure of the play. If the counterposition is close in nature to the theme and develops it, then in order to preserve the unity of the theme and the counterposition, imitation should not be emphasized. As L. Roizman figuratively put it, if each implementation of the theme is performed a little louder than other voices, then “... we find ourselves witnessing a performance about which we can say: forty times the theme and not a single time of the fugue.” In Bach's two-voice polyphonic pieces, imitation should most often be emphasized not by volume, but by a different timbre from the other voice. If the upper voice is played loudly and expressively, and the lower voice is played easily and invariably quietly, the imitation will be heard more clearly than if it is performed loudly. Subject - depending on dynamic plan- may sometimes sound quieter than other voices, but it should always be significant, expressive, noticeable.

Marking Braudo's imitations can be considered appropriate in cases where the main character of the work is associated with a constant alternation of motives, with their constant transfer from one voice to another. The roll call of voices in this case is included in the main image of the work.

Following the mastery of the topic and answer, work on the counter-addition begins. The counter-compound is worked out differently than the theme, since the nature of its sound and dynamics can only be established in combination with the answer. Therefore, the main method of work in this case is to perform the answer and counter addition in an ensemble with a teacher, and at home - with both hands, which greatly facilitates finding the appropriate dynamic colors.

Having worked well on the theme and the counter-addition, and having clearly understood the relationships: theme - answer, theme - counter-addition, answer - counter-addition, you can move on to carefully working on the melodic line of each voice. Long before they are combined, the piece is performed in two voices in an ensemble with a teacher - first in sections, then in its entirety and, finally, completely transferred into the hands of the student. And then it turns out that in most cases the student, even if he hears the upper voice quite well, does not hear the lower voice at all, as a melodic line. In order to really hear both voices, you should work by concentrating your attention and hearing on one of them - the top one (as in non-polyphonic works). Both voices are played, but in different ways: the upper one, to which attention is directed, is f, espressivo, the lower one is pp (exactly).

G. Neuhaus called this method the “exaggeration” method. Practice shows that this work requires just such a large difference in sound strength and expressiveness. Then you can clearly hear not only the upper, main one in this moment voice, but also lower. They seem to be played by different performers on different instruments. But active attention, active listening, without much effort, is directed to the voice that is performed more prominently.

Then we turn our attention to the lower voice. We play it f, espressivo, and the top one – pp. Now both voices are heard and perceived by the student even more clearly, the lower one because it is extremely “close,” and the upper one because it is already well known.

When practicing in this way, good results can be achieved in the shortest possible time, since the sound picture becomes clearer for the student. Then playing both voices as equals, he equally hears the expressive flow of each voice (phrasing, nuance). Such precise and clear hearing of each line is an indispensable condition in the performance of polyphony. Only having achieved it can you then work fruitfully on the work as a whole.

When performing a multi-voice piece, the difficulty of hearing the entire fabric (compared to a two-voice piece) increases. Concern for the accuracy of voice guidance requires special attention to fingering. The fingering of Bach's pieces cannot be based only on pianistic convenience, as Czerny did in his editions. Busoni was the first to revive the fingering principles of Bach's era, as most consistent with identifying the motivic structure and clear pronunciation of motives. The principles of shifting fingers, sliding a finger from a black key to a white one, and silently replacing fingers are widely used in polyphonic works. At first, this sometimes seems difficult and unacceptable to the student. Therefore, we must try to involve him in a joint discussion of fingerings and clarification of all controversial issues. And then seek mandatory compliance with it.

So, having determined the nature of the sound of the theme, its articulation, phrasing, culmination, having carefully played out and sung into the theme, the student proceeds to get acquainted with the first imitation of the theme, called the answer or companion. Here it is necessary to direct the student’s attention to the question-and-answer dialogue of the topic and its imitation. In order not to turn the imitations into a monotonous series of repetitions of the same theme, Braudo advises playing one of the themes, singing the other, then performing the dialogue between the leader and the companion at two pianos. This type of work greatly stimulates hearing and polyphonic thinking.

Working on three- to four-voice works, the student can no longer learn each voice specifically, but learn two voices in different combinations: first and second, second and third, first and third, playing one of them f, espressivo, and the other pp. This method is also useful when combining all three voices together: first one voice is played loudly, and the other two are played quietly. Then the dynamics of the voices change. The time spent on such work varies depending on the degree of advancement of the student. But teaching this way is useful; this method is perhaps the most effective.

Other ways to work on polyphony include:

performance of different voices with different strokes (legato and non legato or staccato);
performance of all voices piano, transparent;
the performance of the voices is smooth with specially focused attention on one of them;
performance without one voice (imagine these voices internally or sing).

These methods lead to clarity of auditory perception of polyphony, without which the performance loses its main quality - clarity of voice.

To understand a polyphonic work and the meaningfulness of the work, the student must, from the very beginning, imagine its form, its tonal-harmonic plan. A more vivid identification of form is facilitated by knowledge of the unique dynamics in polyphony, especially Bach's, which consists in the fact that the very spirit of music is not characterized by its overly crushed, wave-like application. Bach's polyphony is most characterized by architectural dynamics, in which changes in large structures are accompanied by new dynamic lighting.

The main ways to work on a polyphonic work:

Play each voice separately for a long time and learn by heart the names of the notes;
Connect voices according to the “teacher-student” principle; in different registers;
Play each voice with singing, naming the notes;
Play voices in different combinations;
Play with emphasis on any voice;
If the stroke is similar in 2 voices, it is necessary to play with a different stroke;
Isolate interludes;
Carefully analyze the tonal plan;
Instrumentation of voices is required;
Feel like a ruler, the master of all voices;
Fill voices with meaning, look for comparisons;
Explain in detail the genre nature of the works;
Achieve meaningful play, work on rhythm, on cadences (voice them significantly);
Work on melismatics (sing with the name of the notes), achieve the quality of melismas, work on them carefully and a lot;
Avoid diversity of dynamics; but the voices must maintain dynamic mobility.
You cannot change the instrumentation until the end of the voice. You cannot change the theme of the theme in any event throughout the entire event!

Studying Bach's works is, first of all, a lot of analytical work. To understand Bach's polyphonic pieces, you need special knowledge and a rational system for assimilating them. Achieving a certain level of polyphonic maturity is possible only under the condition of a gradual, smooth increase in knowledge and polyphonic skills. A music school teacher who lays the foundation in the field of mastering polyphony always faces a serious task: to teach to love polyphonic music, to understand it, and to work on it with pleasure.

Murmansk 2014

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Working on polyphony

Polyphonic repertoire as the basis for auditory education of pianist students in junior and middle classes of children's music schools

POLYPHONY (poly- + Greek phonos - voice, sound) is a type of polyphony in music, based on the equality of the voices that make up the texture, and in which each voice has an independent melodic meaning (a related term is counterpoint). Their combination is subject to the laws of harmony, coordinating the overall sound.

Invemnce (from Latin inventio find; invention, in the late Latin meaning - [original] invention) - small two- and three-voice polyphonic plays written in various types polyphonic technique: in the form of imitation, canon,

Kanomn in music is a polyphonic form in which the melody forms counterpoint to itself. The main technical and compositional technique underlying the canon is called (canonical) imitation

Fumga (from Latin fuga - “flight”, “pursuit”) is a musical form that is highest achievement polyphonic music. In a fugue there are several voices, each of which, in accordance with strict rules, repeats, in basic or modified form, a theme - a short melody that runs through the entire fugue

Subvocal polyphony is characteristic of Slavic music; in works of this type it is easy to distinguish the main voice from the accompanying voices, the solo voice is more developed, the remaining voices play the role of accompaniment. Intonationally, they are related to the main voice (there is no such connection in contrasting polyphony). Examples include the plays of M. Krutitsky “In Winter”, D. Kabalevsky “At Night on the River”, D. Levidova “Lullaby”, etc.). The accompanying voices can not just sing along, but give a new character to the sound, for example, “Kuma” by Alexandrov, at the beginning of which we hear a calm character, at the end - a dance one. The content should be understandable to the student (the words lead to the content).

The next step is to become familiar with the concept of imitation, where the melody appears in different voices alternately. Soprano and bass - imitation (the bass “mimics” the soprano), the melody moves from one voice to another. The simplest examples for acquaintance: Gedicke “Rigodon” op.46 No. 1, K. Longchamp-Drushkevichova “Two Friends”, Myaskovsky “Carefree Song”. In imitative polyphony it is difficult to say which voice is the main one; in interludes it is the top voice. We get acquainted with imitative polyphony through various pieces, fuguettes, and fugues. Next, we can move on to the concept of canon (i.e., imitation of the entire work). The overlap of votes does not occur immediately. First the top voice, almost finished - the bottom one comes in, then in the middle the 2nd voice. Canon translated from Greek means pattern, rule. As starting material Examples can be used: R. Ledenev. Little Canon (F-dur), Russian folk song “On the River, on the Danube” arranged by S. Lyakhovitskaya and L. Barenboim, I. Khutoryansky “Little Canon” (d-moll), Russian folk song “Oh, you winter » processed by I. Berkovich.

In two-voice polyphonic pieces, try to emphasize the imitation not by dynamics, but by a timbre that is different from the other voice. If the upper voice is played loudly, and the lower voice is played lightly and quietly, then the imitation will be heard more clearly than if it is played loudly. It is this manner of playing that reveals the presence of two independent voices, which is the basis of polyphony. That is, dynamics are not the best means of making a theme clearly discernible in any voice. What is heard is not what is loud, but what has its own special timbre, phrasing, and articulation that is different from another voice. The light sound of the bass voice contrasts well with the sonorous “singing” of the upper one and is perceived more clearly than the loud performance of the imitation. polyphonic repertoire pianist melody

In classes with a student, you should try to include works in the work various countries, eras, draw the student’s attention to the nationality (hidden songs, dances), reveal the aesthetic richness and artistic charm of polyphony, teach to love this music. Polyphonic works should become an indispensable material for the development of musical thinking, for nurturing student initiative and independence, and even the key to understanding all musical styles.

So, when working on polyphony, you should take into account - the ability to hear a melody “horizontally”, revealing emotional and intonation expressiveness in it. For very young pianists, the best repertoire is song repertoire. It is with song that it is easiest to interest a child and find a common language with him. Bright, memorable melodies and rhythms of folk and best modern songs They are close to children in their images and are available for all types of performance.

From single-voice songs there is a logical transition to folk songs of a subvocal nature, where the second voice is not independent, but only supports the first. Here you can tell the student how these songs were performed among the people: first the singer began, and then the melody, changing it a little, was picked up by the chorus.

At this stage of training, playing in an ensemble with a teacher, simulating folk collective activity, is especially effective. One voice is assigned to the student, the other is played by the teacher. It is also advisable to turn to the synthesis of vocal and piano performance: we sing one voice and play the other.

Single-voice melodies and subvocal plays prepare the child to work on imitative polyphony and contrasting polyphony. Excellent examples of arrangements of folk songs for beginners can be found in such musical anthologies as “Collection of piano pieces, etudes and ensembles for beginners” (compiled by S. Lyakhovitskaya and L. Barenboim), “Piano Pieces for folk themes"(Compiled by B. Rozengauz), "Collection of polyphonic plays" (Compiled by S. Lyakhovitskaya) and others.

At the next stage of pianistic education, the core of the polyphonic repertoire for younger schoolchildren becomes the works of the great composer Johann Sebastian Bach.

Maturity and deep content are combined in Bach's works with accessibility and pianism. The composer specifically wrote many plays as polyphonic exercises for his students, striving to develop polyphonic thinking in them. Such works include “The Music Book of Anna Magdalena Bach”, “Little Preludes and Fugues”, “Inventions and Sinphonies”. The composer sought to ensure that these works were accessible to perception and performance by young musicians. In them, each melodic voice lives independently and is interesting in itself. Without disturbing the sound of the whole and the life of the entire musical work.

Easy polyphonic pieces from the Notebook of Anna Magdalena Bach are the most valuable material for the development of students' hearing and thinking. The largest dance pieces from the Notebook: minuets, polonaises, marches, are distinguished by a rich palette of moods and unusually beautiful melodies. A variety of articulatory and rhythmic nuances.

The timbre - the student's dynamic ideas - is enriched. He becomes familiar with the uniqueness of Bach's dynamics - its step-like nature, when sonority increases with the first note of each new motive.

The requirements for a young pianist’s melodic ear are also becoming more complex. First of all, this concerns the articulatory aspects of the melody. The student's hearing must master such types of melodic articulation as inter-motive and intra-motive. He learns to distinguish between iambic (off-beat) and trochaic motifs (beginning on a strong beat and ending on a weak beat).

Work on “Inventions and Sinphonies” provides even greater opportunities for a pianist’s auditory education, which is also associated with a higher performing level. The purpose of the “Inventions” is formulated by the composer himself: “A conscientious guide in which clavier lovers, especially those eager to learn, are shown a clear way of how to play cleanly not only with two voices, but with further improvement, correctly and well perform the three required voices. By learning at the same time not only good inventions, but also proper development; the main thing is to achieve a melodious manner of playing and at the same time acquire a taste for composition.” From this text it follows what high demands Bach made on the melodic manner of playing and, consequently, on the performer’s ear for melodic and intonation. The real sound of “Inventions” especially expands the student’s stylistic auditory horizons. The auditory imagination associated with the representation of sound plays an important role. vintage instruments- harpsichord and clavichord, the timbral originality of each. In contrast to the subtle melodious sonority of the clavichord, the harpsichord has a sharp, brilliant, abrupt sound. The feeling of the instrumental nature of a particular invention extremely activates the pianist’s ear for timbre and allows one to achieve the possible through the seemingly impossible in the colorful sphere of polyphonic technique.

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Stages of working on polyphony in music school. Working on polyphony - methodological page - assol

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