Artistic image of a musical work. “Working on the artistic image of a musical work

Organization: St. Petersburg State Budgetary Educational Institution of Children's Education "St. Petersburg Children's Art School No. 2"

Locality: St. Petersburg

1.1 Positioning of hands and body when playing the snare drum. Beginning Lessons games.

The semantic meaning of the term “production” is associated with the process of rational adaptation of the motor apparatus to the instrument, taking into account the anatomical and physiological characteristics of the player.

Currently, two main types of snare drum performance are used in world practice:

1) traditional, originating from military bands. Characteristic feature This production is a specific position of the left hand associated with the tilt of the snare drum;

2) parallel, which has become widespread in our time. A characteristic feature of this method of playing is the principle of identical (parallel) holding of the sticks, like right hand, and with the left hand.

Parallel staging has a number of advantages over traditional staging. Firstly, it unifies the method of sound production at pitch percussion instruments, (bells, xylophone, marimba, vibraphone, timpani). Secondly, with the intensive use of pop-jazz performance in practice last decades new percussion instruments (various drums, tom-toms, roto-tom bongos), parallel positioning of the hands is the most effective.

Playing a snare drum for a long time is tiring for the ear, so for daily exercise it is necessary to have a so-called “deaf drum” that produces weak, muffled sounds.

You should practice while sitting. The silent drum should be located in front of the player on a stand at knee level. You need to sit straight, shoulders free. In educational practice, it is recommended to practice the dead drum not only while sitting, but also while standing. To do this, you should raise the instrument to a level so that the hand movements are the same as when playing while sitting.

Let's imagine that the drumstick is an extension of your hand. It should create a straight line with the forearm (arm from hand to elbow). Both arms are bent at the elbows and the hands are separated from the body by the width of the palm. Mentally divide the stick into three parts. You need to hold it by the third part (8 - 9 cm from the end).

The stick should pass between the second and third phalanges of the index finger and between the two halves of the palm. The index finger clasps the stick with the second and third phalanges, and the middle, ring and little fingers hold it only with the pads of their fingers. The thumb and index fingers clearly fix the stick in the hand. Wherein thumb remains motionless and only holds the stick. The stick moves due to the wrist movements of the hand and fingers (index, middle, ring and little fingers).

The hand should be in a position in which the greatest amplitude is achieved (in given value This refers to the length of the trajectory of movement) of movements towards the musical instrument.

At proper game fingers are in constant contact with the stick. They push it towards the palm and accompany the stick back (away from the palm). It is necessary to achieve clear, natural movements of the hand and fingers, as well as the drum sticks themselves - the performer must be comfortable holding the stick. After hitting the instrument, the stick bounces off by inertia. Using the force of inertia, the fingers should return the stick to its original position.

It is important to ensure that the body is relaxed and movements are free.

Setting up the shot

To develop a clear tempo, meter and rhythm in the student, it is recommended to conduct classes with a metronome.

Almost all techniques for playing percussion instruments are based on various combinations three basic exercises:

1. Single strikes

2. Double strikes

3. Grace notes

It is quite obvious that all subsequent playing of percussion instruments will depend on the mastery of these three basic elements. Therefore, despite the apparent simplicity of the exercises, the student will need painstaking and lengthy work to achieve high performance technique.

For classes you will need drumsticks and a snare drum (or a drum simulator - a simulator).

You need to grab the drumstick with your thumb and forefinger. Thanks to this grip (this grip is called a “lock”), the stick is held in the hand. The “lock” conditionally divides the stick into two parts. Due to the movements of the fingers, one part of it rushes down and the other – up.

Set the stick in motion - hit the instrument (simulator) with it. You need to perform single strikes slowly, try to ensure that all four fingers move at the same time and each of them works with equal force.

You can try playing with a larger amplitude. As speed increases, the amplitude usually decreases.

The tip of the stick (head) must be hit at the same imaginary point on the simulator, and not jump across the entire area. Each blow must be distinct.

Now you need to take the stick in the other hand and perform single strikes, following the same rules.

If the student is right-handed (left-handed), it is likely that the left (right) hand will have to be worked on longer than the right (left) hand. You can try to play with both hands at the same time, copying the movements of the hand that plays better.

Drawing a conclusion, we emphasize that in a uniform alternation of blows it is important to balance the strength of the blows of the right and left hands. At the initial stage of learning, whole and half notes should be played not with a tremolo technique, as such durations are usually played on a snare drum, but with single strokes, so that it is more convenient to monitor the correct movements of the hand and to learn the correct setting.

In order to ensure uniform development of both hands, it is recommended to alternate fingering options: (as suggested in the Reader for xylophone and snare drum by T. Egorova and V. Shteiman for grades 1-3 of children's music school; and in the school of playing percussion instruments by K. M. Kupinsky) first play with the upper fingering, and when repeating, use the lower fingering. It is also useful to play each exercise in different nuances, for example, for the first timeforte, secondpiano. For this reason, dynamic designations are not included in the exercises.

1.2 Positioning of hands and body when playing keyboard percussion instruments. Initial lessons of the game.

Play on xylophone mainly with two sticks, but when presenting a musical text in three or four voices, respectively, three or four sticks are used simultaneously, placing them between the fingers, two sticks in each hand.

The main position is in the center, opposite the plate before second octave. The performer's body is slightly tilted forward, his legs are slightly apart, while right leg a quarter step ahead of the left. The movement of the performer behind the instrument by half a step or a step to the left or right should anticipate

moving the hands, thereby preparing a comfortable position for the hands in any register of the instrument.

The xylophone performer holds the stick in the first third of its part from the end, squeezing the stick with the thumb, index and partly the middle finger of a free, slightly lowered hand. At the same time, the hand faces downwards, the fourth and fifth fingers lightly cover the stick, holding it. During the strike, the fingers, loosely encircling the stick, slightly “knock” it from below, helping the movement of the hand.

The heads of the sticks, regardless of the register and direction of hand movement, must fall into the center of the records. The auxiliary work of the fingers is especially important when small equipment playing the xylophone, when the amplitude of the brush stroke is almost absent.

The sound on a xylophone, produced by hitting the sticks on the record, is short, instantly fading. To obtain the length of the sound of a note or an entire phrase, the technique is used tremolo. Other touches often used when playing the xylophone include legato, staccato, tenuto, portato, soft accent, hard accent, etc.

Setting up the shot

To acquire the skill of hitting correctly, accompanied by a clear, full, distinct sound, careful, painstaking preparation is required both on the instrument itself and on the training, dull drum - the training cushion.

The student’s primary task is to achieve a full-bodied, biting and sharp blow with a clearly fixed, vertical fall of the stick to the middle of the plate. In cases of fingering difficulties, as an exception, the extreme parts of the records, the sound of which is less rich in overtones, are used for striking.

Impact points that are located above the hole in the tie-cord plate should be avoided, as they are devoid of sound vibration.

The swing of the hand and forearm during impact should be free, the amplitude corresponding to the force and nature of the blow. The feeling of tight contact of the head of the stick with the xylophone plate at the moment of impact should be clearly recorded in the movements of the hand and fingers.

In the initial exercises, it is necessary to monitor the correctness of the strike and the amplitude of the swing; it is necessary to play with a sweeping, full sound, freely raising the stick no earlier than an eighth before the strike.

For confident, free and complete performance, a necessary condition is precisely a comfortable, natural distribution of hands during the game. But it is not always possible to maintain this natural convenience. Thus, especially when performing scales, arpeggios and various passages, there are less convenient techniques, insufficient, however, mastery of which significantly reduces technical capabilities performer. This - cross blow, (through the hand), and double blow, (two blows in a row with one hand). When performing double notes, that is, intervals and consonances, numerous blows in a row with the same hand are absolutely inevitable. To master and refine these techniques, systematic, daily training over a long period of time is required.

On bells They play sitting and standing, the body is not tense, almost motionless. The lower registers of the instrument's keyboard are located on the left hand of the performer.

A good and clear sound is produced by striking the center of the record with a hammer. You should avoid hitting the edges of the records, as you may hit the adjacent record, and the sound quality will be lower.

The blows are made by moving the hand. The hammers are held equally by both the right and left hands, straight in front of you and parallel to one another. The hammers lie on the first joint of the index finger and on the second joint of the middle finger, which lightly covers the handle from below. The thumb lies on top, approximately 10cm from its end. Double notes, glissando, short grace note, tremolo technique, trill. – strokes often used when playing bells.

Thus, it must be remembered that only systematic, daily lessons can prepare a student to overcome the technical difficulties that he will have to encounter in the process of performing activities.

We should not forget that in addition to a developed sense of rhythm, a keen ear for music and a good memory - qualities necessary for every musician - an essential prerequisite for a student of playing percussion instruments is the presence of good physical characteristics.

BIBLIOGRAPHY

1. Egorova T., Shteiman V. Rhythmic exercises for the snare drum - M.: Music 1994. - 39 p.
2. Zakiyan H. School of playing the snare drum - Yerevan: 1986. -184 p.
3. Kupinsky K. School of playing percussion instruments - M.: Muzgiz 1957. - 200 p.
4. Kuzmin Yu. School of playing percussion instruments Part 1 - M.: Military Faculty 1965. - 113 p.
5. Razumov A. Methodological recommendations for teachers of children's music schools - Khabarovsk: 2012. - 106 p.
6. Ralo A. N. Theoretical basis playing high-pitched percussion instruments Monograph - Astrakhan: Publishing House Astrakhan. state Conservatory 2002. – 126 p.
7. Ralo A. N. Some aspects of the theory of performance on high-pitched percussion instruments Dissertation - Rostov-on-Don.: Publishing house Rostov. state Conservatory 1996. – 150 p.
8. Snegirev V. School of playing the double-row xylophone (marimba) - M.: Muzyka 1983. - 126 p.

Musical xylophone: what is it and how does it sound?

A xylophone is a musical instrument. Its feature is the high-pitched sound reproduction. The instrument itself consists of a long row of rectangular strips of wood (metal). The structure of the musical band starts from the largest and ends with the smallest with the highest sound. The instrument comes with a rounded stick with a metal head. By hitting the blocks with it, you can make different melodic sounds.

What does a xylophone sound like?

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Schemes of children's songs for xylophone

Also on our portal there are sheet music and diagrams for playing children's songs for piano. Some patterns for playing the piano are practically no different from patterns for playing the xylophone, so you can safely take the patterns from this section and play for your own pleasure. The only thing is that you need to choose songs that use the same number of “white piano keys and xylophone plates.” But, unfortunately, there are no analogues of black keys for the xylophone, so it is better to choose songs that use only white keys.

Song outline examples:

Here, the white keys correspond to the plates of the xylophone, and there are no black keys on the xylophone at all. The longer the xylophone, the more tunes you can play from this section.

Types of tools

The xylophone comes in two-row and four-row types. You can learn to play the xylophone with two metal sticks, keeping a distance of 5 cm from the plate. A double-row xylophone involves playing with several sticks that have different diameters. Such reproduction requires alternating them between the fingers.

Playing the xylophone requires quick action, as the sound of the instrument fades quickly. The tool is more suitable for creating such musical melodies, like a passage, arpeggio. Xylophone notes consist of a treble clef, where the part is recorded in a low octave, which is several times lower than the true sound. The score is notated under the bells part.

The advantage of the instrument is its mobility combined with an unusually beautiful sound. Thanks to this property, the instrument has gained popularity and demand in all corners of the world.

How to play the xylophone?

To create melodic sounds, take a hammer. The edge of the striker should touch the index finger so that the pad of the finger lies on top. This position of the hands will help fix the tip music stick without much pressure. The musician's wrist should be relaxed. If force is applied to the hammer, the sound will acquire the wrong tone. At the beginning of training, you need to play notes with one hand and one stick. As you memorize the melody or note order, you need to repeat the same action with your second hand, and then try to play them with both hands. To better remember the material, you need to memorize the following position: in major, the note “C” is taken with the left hand, “D” with the right, “E” with the left.

The xylophone stave can be purchased ready-made; a music book for beginners used in school is also suitable for learning. musical arts. The purpose of the training course is to learn to recognize notes for a xylophone, their location and duration of sound. A whole note is indicated by a white circle, half by a circle with a stick, a quarter by a dark circle and a stick, the 8th note is marked with a tick, the 16th with two checkmarks.

The fractional degree of each bar must be identical to the size of the staff. For practical lesson you should learn and perform a simple composition. For this purpose, you need to take sound rhymes with the hand that is comfortable. You can use special values ​​in notes. The game should begin with a slow sound, during which it is important to accurately hit the center of the board with a hammer. As you memorize the notes, the tempo needs to increase.

In the future, you should learn to play any notes, making sure to hit the middle of the instrument without missing a beat. Actions should be sliding, without straining your hands and fingers. These skills will be useful in works with complex production, in which there is a high note sound.

How to choose the right tool?

When selecting a tool, you should pay attention to its appearance. All boards, if they are plain, must be solid with a smooth surface. If they have different colour, it is worth looking at how the paint has applied: if it is applied evenly, the xylophone is suitable for use.

To teach children, it is better to purchase a xylophone with notes written on it. If this is not available, the notes are determined by ear. A children's xylophone has a design tuned to sound in “C major”, but “A minor” cannot be played on such an instrument.

A professional xylophone is tuned chromatically, where each of the planks is played in a semitone. You can start playing the children's xylophone at the age of 5-6 years. In the future this musical instrument used for solo performance, playing in an orchestra or on stage.

Questions about the children's orchestra

- New form work - experimentation. I tried to understand what we could experiment with in our field. Apart from experiments with sounds, nothing came to my mind; if we take other types of activity, then it’s more likely not experimentation, but creativity, improvisation. Maybe you can advise what experimentation in music is?

Irina, Novorossiysk

Regarding experimentation, I think you are absolutely right! Most likely, children will find sound associations, group sounds based on common features, make a selection of verbal definitions to the sounds heard.
Surely, this will be associated with the search for associations when working with the sounds of nature ((the rustling of leaves is reproduced by the rustling of paper, the singing of a tit - by tapping on a crystal glass), in the sound of musical works, when making sound toys, noisemakers. All this activity will be playful, entertaining character.

But still, here the border between creative tasks and experimentation is very blurred...we are used to calling it creativity...

I understand and welcome - song or dance improvisation, that is, creativity!

And then - this is a separate conversation - what is called dance creativity? Running around the hall with leaves or ribbons and chaotically waving your arms is not dance creativity, as many people think... but this is a separate subject for conversation...

But what kind, if I may say so,smart ass entered into preschool education improvisation on musical instruments?
I would really like to talk to him and get to know him…. and smile...

Well, I understand, improvisation is selection by ear musical rhythm, tapping rhythmic groups... but “selecting melodies by ear”... is overkill...

When, excuse me, should I do this? -once! (when per lesson, 20 - 30 minutes are allotted for all types of activities)! This is a purely individual, very painstaking and time-consuming work!

What kind of hearing should a child have in order to use the “poke” method to find at least one necessary note,” not to mention a small melody... - (and children, as a rule, have VERY approximate hearing, or do not have it at all, rarely for whom it is given by nature...) -two!

What kind of hellish patience must a musician have to wait - when, when? the child will pick up these 2-3 notes... but, as a rule, all our metallophones in kindergartens DO NOT BUILD, they sound like a completely iron sound that has nothing in common with the sound of a tuning fork... these metallophones are terribly out of tune, the sound is approximate, with such a stretch …that you’re already squinting your eyes from this sharp dissonant sound…. -three!

(I am now learning the classics - Liszt - with the children and I mentally ask him for forgiveness for this howling of metallophones, some of which are roughly built like this....)

It’s the same as letting me improvise on a saxophone or harp... how is it to try to play it without knowing the instrument at all?...
It’s like giving a violin to an aborigine... it will be about the same thing... general chaotic squealing, cacophony...

In general, I think this is a completely unnecessary waste of time... a child’s hearing can be developed in thousands of other ways, much more productive, andplay a child's instruments - need to TEACH and don't let it happen...

But this is my purely subjective opinion, however, dictated by many years of practice...…

- Do you teach each person individually first, and then combine them together? Or do you all play together at once, as best you can, and then “clean” them individually?
I taught the children notes, it’s more convenient for me, since we sing using hand signs with the name of the notes from 2 junior group and on the metallophone the children also know them. I wrote the score in circles (small and large depending on the duration), inside the circles I wrote the names of the notes, since the children in the preparatory group already know how to read, I used pauses in quarter notes and eighth notes, and separated the “text” with bar lines. The children found it all very accessible. I concluded that boys do a better job (maybe they have a technical mindset?). The most difficult thing for children is to “hear” and withstand pauses, especially when the melody is learned and children feel freedom when playing.

Lyudmila, Samara

We always start teaching orchestra with the children all together! Children have a collective desire to play beautiful music The SELF is so inspired by the potential of their capabilities that the training goes quite quickly!

The fact is that I first play the entire set of metallophones MYSELF, accompanied by a phonogram, so that the children understand WHAT they should ideally achieve, in the end, in the end! And then in small pieces...

Individual work here, of course, is required! I can’t do without it, no doubt, because some people pick it up quickly, while others have a harder time... but I take the especially difficult ones in individual work on themselves, and for children who do not memorize firmly - I ENSURE THE CHILDREN THEMSELVES who know the part well: they take a couple of metallophones into the group and practice on a walk.

My children also, of course, know the notes and their names, but I color scheme I play it safe: when I conduct them and suggest the order of notes out loud, then I myselfI get confused from colors to notes: I say: “blue, yellow, blue, fa-mi-re...”

And the children understand me, because everyone can read too, and we visit the Land of Musical Literacy regularly. By the way, in the same matinee we sing the song “Singing Lesson” (To learn to sing...) where the musical scale is sung.

In fact, this is the most difficult thing: when the children HAVE ALREADY learned the part... they are a little carried away, they are in a bit of a hurry... and it is SO DIFFICULT to restrain yourself and not “croak” - some a little earlier, some a little later, but play EXACTLY with a melody! This is actually true! It is very important to teach children to listen to each other and the melody in order to sound in harmony with it, especially when there are 28 of them! But we will try!

- How to hold the sticks correctly when playing the metallophone? Like a pen or in a cam? Thank you, but it’s different for everyone, I don’t understand.

Irina, Germany, Stuttgart

And so, and so - wrong!

The metallophone stick must be held with two fingers: the thumb and forefinger! The thumb is on top and the index finger is on the bottom.

Moreover, the stick is held by the very edge!


By trial and error - if you take the stick not by the edge, and then - the sound of the metallophone will be non-musical, but iron...

In this case, the elbow must be moved to the side ... otherwise, it’s amazing... again the sound will be like an iron pipe!

And finally, the last condition for the metallophone to sing and not creak with iron:

As soon as you gently but loudly touch a note, you must let it go IMMEDIATELY! If you hit the plate and hold it with a stick, leaving it on the plate, then there will never be a sound!

I always tell my kids:let the note breathe! - It's like a bird in captivity - it doesn't sing! If you hit it and hold the note, it won’t sing.

It will sound ONLY when you Bird - Music set free! Touch the plate - and IMMEDIATELY release it - only then the metallophone will sing, and not “crack” with an iron sound!

Something like that...

For an orchestra of metallophones, where is the best place to put musical instruments in order to pick them up in an organized and noiseless manner and take them to their original positions? The whole group plays.
And also, is it important or not for children to play with the music director’s piano or with orchestral accompaniment on the disc? It’s convenient for me to turn on the disc and quietly support the children with my eyes and gestures. Children like it this way too. And the music is brighter with an orchestra.
They also started trying to play while standing and holding the metallophone in their left hand, the children said: it’s hard, their hands are tired. How did your children get used to playing while standing?

Elena, Moscow region.

Everyone chooses the most optimal option for themselves regarding the use of musical instruments.

It's all about the location of the hall, the placement of chairs for the guys, the presence of tables for metallophones, how much space there is in the hall... how far the guys sit from the instruments, etc.

My hall is small, and the children sit with their backs to their parents. We always put tools under chairs. At first, of course, some people touch them with their feet, bend down to tinkle... but this interest soon goes away due to the habit of seeing them there... they get used to it - and it’s no longer so interesting to play tricks...

These instruments are not visible to parents and do not interfere with the children’s dancing, they are hidden under the chairs, but at the right moment the children take them and come out in front of the audience - also a kind of surprise.
After the performance, they also put them under the chairs.

It’s so convenient and familiar for us, for children this is the norm, so everything is done quickly, without fuss and without noise. Children are taught that under no circumstances should they take out a hammer and ring while testing metal plates - they must wait for the music. Therefore, the guys go out, put the metallophone on their elbow, take the hammer and lower this hand down so that there is no unnecessary ringing, a kind of “tuning of instruments”...

A piano or a phonogram is the choice of the musician and everything is decided by his taste, the task he sets, the age of the children and the degree of their readiness.

After all, it is easy to play a rhythmic orchestra both with a piano and with a soundtrack orchestra, because the teacher and musician will always help with gestures, nods, and claps...in the rhythmic orchestra the children look at us, listening to music!

And in the metallophone orchestra, a child looks at the keys of his metallophoneand here he can only rely on himself, his skill, his hearing and sense of rhythm! Here he has more responsibility, independence and, albeit childish, professionalism in this area!

After all, playing a melody to a soundtrack is more difficult, because with a piano we can “play along” somewhere, slow down a little or adapt to the children if they are late or in a hurry... but with a soundtrack this is impossible, the soundtrack requires you to be collected and play exactly in rhythm, you can’t make a mistake here, otherwise the whole number will be in vain..

Lately I’ve started to really love doing an orchestra to an orchestral soundtrack - it’s, of course, obliging... but also impressive!
And the sound of metallophones blends more harmoniously with the sounds of an orchestra than with a piano...

We only teach while sitting, of course!
We come out to play standing only when the playabsolutely learnedwhen you almost don’t have to stop and explain everything again and again... then, of course, the guys’ hands will get tired... but if you go out and PERFORM, it takes 2-3 minutes!
At this moment they are so focused, thinking about the order of notes, trying to get into the rhythm... and not thinking about fatigue... time passes very quickly..

As a “test of the pen”, we can go out into the hall, play standing up, just to try - how it sounds... but then we sit down again to practice and consolidate the melody!

Just if you're in a positionstandingthe kids still make mistakes, which means they still need to learn how to playsittingso that automaticity and skill comes, ease and confidence in performance, then they can easily play while standing, and they won’t get tired, they just won’t have time...

- What do you think, if you take the musical accompaniment not the orchestration of the piece, but play the instrument yourself, will the children cope without prompting? Or put scores in front of them?

Olga, Udmurtia

I used to always take an orchestra with live musical piano accompaniment! And I never exhibited the score, because the scale of the part was always small and quite memorable!

This is the last time I “swinged” something too much... so I had to put on the score to “help” the guys...

But in general, I believe that the parts should not be cumbersome and complex, because the orchestra is far from the only type of children’s performing activity!
And with live accompaniment the orchestra sounds great! And with the soundtrack - it’s also wonderful! But with a phonogram it’s more difficult in the sense that it won’t wait if the children hesitate and hurry... or lag behind the leading melody or rhythm... And if the piano sounds, then the musician can always adapt a little to his little ones orchestra players, will help them enter into a common rhythm and combine melodies!
And the guys remember VERY well and surprisingly quickly the sequence and combination of colors of the scale and the names of notes (if they already know how to read)!
So don't be afraid and get creative! The more diverse the activities, the less children get tired, and the more interesting it is for them to do!

Tremolding is the main method of coherently performing bound and pedaling notes of large durations. The coherence indicated by the league and performed by the tremolo technique depends on the domrist’s ability to create the impression of melodiousness.

Playing with crossed pots (“stroke”) and tremolos is a game that is completely independent and different in artistic purpose techniques. True, it is easier to play with a “rhythmic tremolo”: the strokes on the string in it are distributed in proportion to the duration of the notes and the right hand throughout the entire melody is not taken out of the monotonous rhythm of movement. Its strokes go, as if “in time with the melody” and serve as a kind of counting for playing.

But from the artistic side it does not justify itself. Tremolding is a means of maintaining sound and is associated with the expressiveness of performance; therefore, its frequency even in the same sentence or period is not constant.

Dynamic development, the appearance of smaller durations, etc. sometimes force one to play, either increasing the tremulus, or reducing the number of strokes on the string, as if outlining a melody. It all depends on the specific performance task. Due to the presence of two interpretations of the tremolo technique, training went in two ways: with the “stroke” and with the tremolo. Supporters of training with the “stroke” usually argue that in the “stroke” the hand moves slower than in the tremolo; that its movements are more sweeping , and therefore there is less concern for the student’s incorrect assimilation of the nature of the hand movement.The opinion about the ease of learning from a “stroke” is wrong. Hand movements in the tremolo at the initial stage of development can be no faster than in the “stroke” (this depends on the tempo of the exercise for playing with the “stroke”).

In addition, those who teach playing with a “stroke” lose sight of the fact that the student, having once accepted the obligation of playing a certain number of strokes on each note, subsequently has difficulty weaning himself from this. When tremoloring, a proportional number of strokes is always heard, and the tremolo is compared with the “stroke” does not acquire quality independence. This is a residual phenomenon from the wrong sequence of training. As can be seen from the above, the essence of the difference between these two techniques is not so much in the frequency of beats, but in their quantitative organization in relation to the meter and rhythm of the melody. Beginners should be taught right away with an arbitrary, “unorganized” tremolo. Initially, it begins with tremoloring long notes, with a frequency feasible for the student to strike the string; The recommended training sequence does not negatively affect the motor principles of the hand. But when tremulating notes of indefinite duration, the relationship between the meter and the rhythm of the hand movement is excluded, which will not instill the manner of playing with a “stroke” instead of a tremolo with the transition to playing slow, melodious pieces.

Of course, there are no rules for “constructing” a tremolo, but most importantly, it is not recommended that it be based on double rhythmicity. The quality of the tremolo improves significantly after students master the performance of triplets well. Firstly, because by achieving emphasis on the first notes of triplets (then up, then down), they work out the same force of blows with a pick on the string; secondly, because the triplet consists of an odd number of notes, and therefore blows on the string, and if their oddness is to some extent transferred to the tremolo, then unwanted double rhythmicity is excluded.Therefore, periodic training in playing triplets is very useful for any domrist.

What should be the frequency of the tremolo at its qualitative end? Some domrists, based on the premise “the more often, the better,” play with a very “saturated” tremolo, but this does not provide melodiousness, but has a depressing effect on the ear, giving the impression of an annoying chirping; In addition, the sound of the instrument deteriorates. With frequent alternation of blows, this occurs because after a downward blow, when the string has not yet had time to use the energy imparted to it to oscillate, these vibrations are stopped by the touch of the pick to the string during the return blow, and the blow itself imparts new vibrations, which are again damped by the next blow down, etc.

The initial shocks - sources of energy - are heard, and the distances between them do not have time to be filled with vibrations of the string (sound), that is, the shocks are not enveloped by it, are not veiled. There is no center line of sound. The tremolo becomes “dry”, not melodious, reminiscent of a tremolo on a xylophone. Too frequent tremolo is especially detrimental to the sound quality in low registers, since the vibration frequency of the string itself is lower. Therefore, it is necessary to take into account the difference between tremolo on small and alto domras. In addition, When playing smooth, calm pieces, the performer, who has a frequent tremolo, himself introduces an element of nervousness and anxiety into them.

Tremolo, to some extent, can be considered as a kind of dynamic vibration of sound, and in choosing one or another frequency it must be (as with intonation vibration on bowed instruments) based on the content performed work, taking into account the tension, excitement of the melody or, conversely, its calm nature, nuances, as well as the register in which the melody passes. In tremolo, it is important to maintain the vibrating state of the string, without allowing the listener to lose the feeling of a continuously flowing sound. This is achieved not by the frequency of tremolding, but by the force equivalence of the blows and their uninterrupted performance. With such monotony, the ear adapts and perceives the tremolo as a single, monolithic sound line. Solidity is also facilitated by the fact that tremulous instruments have a sound perspective. For them there is a distance for concealing blows. The tremolo evens out even at a short distance and the sound thickens. But even in the future, against the background of the main sound of the string, the most powerful moments of its sound (strikes) still remain. However, such pulsation, sound flickering with an even tremolo is not only not a defect in the sound, but even enlivens it (especially on low-register instruments). It should be said that an excessively sparse tremolo is also an extreme. With it, the periods of oscillation of the hand are long; The vibrations of the string have time to die out in the intervals between strikes. The criterion for choosing a particular tremolo frequency should be the good sound of the instrument and at the same time the coherence of the melody being performed, which depends more on the ability of the performer to conduct the melody using the tremolo method than on its frequency.

^ ONE SIDE KICK PLAY (DOWN)

Notes of small durations or larger ones, but at a fast tempo, when they cannot be performed with a tremolo technique, should be played with blows. At a moderate tempo they are performed with a downward strike, at fast ones - in both directions, since playing in one direction requires a lot of physical strain on the right hand, and sometimes is completely impossible. When playing in one direction (downwards), the string is struck as follows: the hand, without lifting the sliding fingers from the shell, is raised upward (towards oneself), then the string is struck by a natural fall in combination with active movement. For each downward strike you need to make an independent swing. For most students mastering this technique, it is typical that they do not hit the string, but, trying to hit it without missing, usually place the pick on the string in advance and, pressing, pull it off. The result is “plucking” the sound, rather than extracting it with a clear, abrupt blow.

It is better to practice downward strokes on the open 2nd string, so that the movement of the hand ends with the pick resting on the 1st string. When mastering strokes on the 1st string, the student may excessively carry the hand forward (along the stroke), since in this case there will be no restriction on the movement of the string, and this is undesirable. Having become accustomed to artificially stopping the hand, the student will subsequently stop it in a timely manner. It is also necessary to ensure that the string is not struck by turning the hand in a horizontal plane.

^ PLAYING STROKES IN DIFFERENT DIRECTIONS (DOWN AND UP)

The movements of the hand when playing with strokes in both directions are no different from its movements in the tremolo. You just need to make sure that at the beginning of mastering strokes in both directions, the pace of movement (tempo of the exercise) is not very slow, otherwise the student, having a reserve of time, will stop the hand either at the top or at the bottom, and the nature of the movement will certainly be disrupted.

As a mandatory minimum for daily finger training and improvement of playing strokes, 20 exercises are recommended, which are modified exercises for the violin by G. Shradik. From the entire cycle of exercises, those whose use on domra is most appropriate were selected and modified. All of them are designed to work with fingers in various combinations.

Some simplification of G. Shradik's exercises is due to the fact that the strings on the domra are stretched very tightly, and it is much more difficult to press them to the fingerboard than on the violin. Using the exercises in their original form can lead to overwork of the left hand (an occupational disease). This is especially dangerous for those playing the alto domra, which has a large scale and requires greater stretching of the fingers. When playing with an extended hand, a special load falls on the little finger, since it cannot be positioned with a “hammer”, and pressing the string with an outstretched finger requires considerable effort.

Simplification provides for more frequent alternation of muscle work, and thereby a more uniform load on them. At the same time, the exercises, despite being simplified, do not lose their main training purpose. The exercises must be played at a pace that is feasible for the student, playing each of them 8 times, listening to the sound quality and clarity of performance. At the slightest sign of arm fatigue, you should stop playing, give it the necessary rest, and only then continue the next exercises.

The most difficult are exercises 9, 16, 18 and 19. They should be given to the student taking into account the endurance of his fingers or only for playing at a slow pace blow down.

DETAILS

On bowed instruments (violin, cello, etc.) detaile - playing each note with separate movements of the bow downwards (from the block to the end) or upwards (from the end to the block) in turn; on domra - tremoloring of each note separately, without transferring one note to another on a solid tremolo.

A short detail is used to perform notes of small durations or larger ones, but at a moving tempo. This is done as follows:

Written

Performed

At faster tempos, the detaile is performed with a calm, sustained, “deep” downward stroke. The nature of the sound of the detaile performed in this way is similar to portamento.

^ SOUND (TONE) ON DOMRA

Sound is the basis of music. Therefore, its quality should always be the focus of the performer’s attention. If available good sound If you don't have good technique, you can perform a slow melodious piece, but with poor sound, no matter what other qualities the musician has, his performance cannot be called artistic.

Meanwhile, in the majority teaching aids sound is spoken of only as physical phenomenon, without describing its artistic and expressive qualities and means of extraction. Therefore, often from ignorance of the means by which good sound is achieved, the false opinion is born that sound is a “matter of time”, that it will appear “by itself.”

However, this or that quality musical sound depends on very specific, fairly well-known conditions. Sound production on an instrument should be a subject of study and dealt with with the same seriousness as vocal production for vocalists.

No for sound work special exercises. True, teachers sometimes, in order to “work on the sound,” give students to learn slow pieces. However, the issue of sound quality should not be associated with the performance of only slow melodious pieces. Such tasks are rather aimed at developing an even tremolo and cantilena. Good sound is the fruit daily work according to the current program. Any material, be it a piece or an exercise, is always suitable for working on sound quality. The sound on a domra is not ready-made, determined by the design of the instrument. If, say, on a button accordion the sound mainly depends on the quality of the instrument, then on a domra the sound quality also depends on the ability to play it. One of the first conditions that ensures good sound is undoubtedly the quality of the instrument and mediator. However, both contribute to good sound, but are not a decisive factor. There are many owners good tools, but their sound is far from enviable.

The second condition is determining the place on the string where hitting it will produce the best sound output; third - correct position right hand. As is already known, it should always be placed with the forearm slightly above the strings, at the lower nut, so that it is not directed along them, but at a slight angle.

This ensures that the pick touches the string with the working edge, and not the entire plane. The thumb bent at the first joint maintains this position of the mediator during playing. The position of the pick, placed obliquely in relation to the string, will lead to the fact that the string, when going around its “nose,” will slide as if on a spherical surface. With this position of the pick, the sound will always be better than with any other.

What exactly determines the sound quality in this case, what happens when the string is struck? Let's imagine what it would look like in slow motion film projection.

At the first moment of striking the string, under the action of the mediator, it moves away in the direction of the blow. The pick, by pressing it into the flesh of the fingers (and not swinging in them), slightly deviates in the direction opposite to the blow. Meanwhile, the hand with the pick will move further, and the string, under the action of elastic forces, trying to return to its previous position, thanks to the slight inclination of the pick, will slide down along its working edge, to the top of the rounded “nose” and, having passed it, will imperceptibly separate from the pick to which - to an indefinite point. Such separation of the string, due to the roundness of the “nose” of the mediator (placed at an angle), does not create the impression of plucking, since with this position of the mediator there is no pronounced moment of the string breaking off from it (as happens when the mediator lies flat on the string ), and the sound will be “soft”, “velvety”. In addition, the string, sliding to the top of the “spout”, will be pulled down (towards the soundboard), and therefore, having gone around the “spout” and breaking out from under the pick, it will naturally tend upward (from the soundboard).

It is difficult to explain whether the presence of an oscillatory movement perpendicular to the soundboard, or the predominance of this direction in the general vibration of the string, gives a more “deep”, “dense” sound. Firstly, because this phenomenon has not been studied, and secondly, its justification is a separate task. We will limit ourselves to practical conclusions without elucidating the physical reasons that give rise to this or that sound quality. It is not difficult to check the correctness of the conclusions made if you extract the sound by plucking the pick to the side, and then pointing it towards the soundboard. The difference will be obvious.

Some domrists place the pick almost flat to the string while playing, and achieve the roundness of the “nose” by increasing the thickness of the pick. It's hard to agree with this. A thick pick, having a large mass and area of ​​contact with the string, always knocks on the metal, and you can’t place it at an angle, that’s how it is. how the sound will be “dull”. True, the same thing will happen if you place a pick at an excessively large angle, and of the thickness we recommend, or a pick that has a larger oval “nose”. The angle should be such that the best sound can be obtained. This can be solved practically. Let us remember in passing that the thickness of the mediator provides only its mechanical strength. When the pick is at an angle, the working edges (points of contact of the string) are further away from each other, and this in itself already replaces the thickness of the pick.

The size of the mediator plays a significant role in achieving good sound. Mediators big size should not be used, since a large area will be pinched with your fingers, and this will eliminate shock absorption (some deflection when hitting the string); the mediator will put more resistance on the string and pull it - a rough sound is inevitable.

The condition for achieving an intelligible, “long-range” sound is not the mechanical force on the string, but the correct sound production, in which a very quiet sound is actually perceptible to the ear even in large concert halls. One should distinguish between a quiet, but meaningful sound and a weak (“frail”) sound.

When playing the piano, a large pick has to be very weakened, which is why the sound becomes “rustling”: the blows (“clicking”) of the pick on the metal strings can be heard. The tip of the pick should protrude from the fingers by about 5-6mm. if it is released very little, the vibrating string will touch the fingers, and they will turn out to be dampers. If the end of the pick is released too much, then when it hits the string, the pick will easily deflect and slide across the surface without engaging the string properly.

It should be said about one more important detail that has a positive effect on the quality of the extracted sound. Previously, we spoke quite clearly in favor of wrist movement and in in this case We are not trying to contradict ourselves, but noticing the greater rigidity and richness of the sound when playing with a “tightened” hand (from the elbow), we will try to explain the reasons for this.

The first of them is that when playing “from the elbow,” the moving part of the hand increases. In this regard, the sharpness of its movement decreases, and the strokes on the string become not as short as those characteristic of wrist movement (especially if the hand is hanging). The effect on the string in this case will be somewhat pressing.

The second reason is the weighting of the hand, which is also due to the increase in its moving part, as a result of which the pick, creeping onto the string, pushes it towards the soundboard without difficulty. Therefore, when moving the wrist, one must direct efforts to ensure that, while maintaining motor principle hands (at the turn of the forearm), compensate for the elasticity of the hand that is present in the “tightened” hand and has a positive effect on the sound.

During playing, the pick should always be pressed to a greater or lesser extent by the fingers holding it. The force required to compress the mediator is transferred to the joint connecting the hand with the forearm, as a result of which the grip of the hand with the forearm becomes more rigid, and the hand acquires the necessary elasticity, its strength state changes. A brush endowed with this property increases the resistance of the pick to the string, which provides a better sound. To achieve a good sound when playing chords (strikes), they should be played not with one hand, but with a movement of the hand, from the elbow.” Playing the domra with tremolo chords is not used in orchestras, since there is no practical need for it.

^ POSITIONS AND FINGERING

Position is the position of the hand on the neck of the instrument; its sequence is determined by the position of the 1st finger. If, for example, the 1st finger on the 1st string is placed on the note mi second octave, 2nd - on F, 3rd - on salt, and the 4th - on la, then this means that the hand is in position 1.

When the hand is in position 1, notes should be played on the 2nd string si, before, re, mi, and on the 3rd - F, salt, la, si. Thus, when playing in 1st position on all three strings, you can cover the scale from mi first octave C mi second.

In position II, the 1st finger (on the string re) is on note F, in III - on salt, in IV - on la etc. The rest of the fingers are like on a string re, and on the other two strings are distributed similarly to how they are distributed in the 1st position. When playing on all three strings with a more or less long-term position of the hand in one place, the frets are under the fingers, and the player does not have to reach for them or hit them abruptly. However, noting positive side positional play, it should be noted that playing in positions also has a number of negative aspects. The specifics of the domra, as well as purely performance goals, do not always allow the fingering to be based on positional play; Therefore, it is more correct to consider positions only as one of the possibilities that facilitate the technique of playing the domra. One of the reasons that does not allow us to widely use the game in positions is the hook that often occurs in positional play. This is, of course, the most difficult of all the technical techniques available in domra. 1st string to the 2nd, when the blow to the 1st falls down, the hand with the pick, so as not to catch the same string during the reverse movement, must be arced across it to strike from below on the 2nd string: a, b) good, c) bad

This is extremely difficult to do at a fast pace. The picked note, as a rule, “smears” and falls out of the general character of the sound of the passage or some other structure. If the domrist tries to hit this note with a full blow, then the hand will have to “tighten”, that is, play by including the forearm in working with the hand. Systematic playing with “hooks” can lead to a change in the position of the right hand; that is, the performer will develop some kind of universal position based on playing with the whole hand, from the elbow to the hand.

That is why you should avoid “pickups” and try to distribute your fingers and, accordingly, strokes in such a way that when moving from string to string, the blow of the pick on the other string falls downwards. “Pickup” is used only as a last resort, when there is no other way out, when “ a jump" as a replacement for a "pickup" is even more difficult to perform than the "pickup" itself. Even an accidental, single "pickup" takes the right hand temporarily out of its normal working state. Psychological moment forces the musician to prepare for the “pickup” by changing the work and position of the hand in advance. After the “pickup” is carried out, the performer usually cannot remove the hand from the changed position for some time. Dom players who widely use the “pickup”, as a rule, play unclearly in sound and rhythmically unstable.

The second reason for refusing to play in positions is playing legato. If, when performing a melodious melody, the domrist, using the positional position of his hand, often moves from string to string, then the melody will be broken: it is quite difficult to connect two sounds on different strings. In addition, in positions, especially in the upper register, the strings sound uneven in timbre. To confirm this, let us analyze an excerpt from V. Kalinnikov’s First Symphony, given by S. Ya. Kryukovsky in his “School for the Three-Stringed Domra” (Muzgiz, 1930) as an example of a melody performed in 2nd position.

Allegro moderato

The fingering according to Kryukovsky (lower numbers), based on playing in position, is not justified either from a technical or artistic point of view. Both in the first and second phrases there are five transitions from string to string, which disrupts the coherence of the melody. In the 6th measure of the first and second phrases, the melody is moved to the 3rd string, and this violates the timbre integrity of the phrases. In addition, grace notes in the 2nd measure of both phrases fall on weaker fingers. When playing with a different fingering (upper numbers), both in the first and second phrases there will be only one necessary transition from string to string. The melody will be performed on two strings that have a single-timbre sound. In the 2nd bar, slide (portamento) from salt To F will be a connecting moment, promoting legato, and the grace note will fall on strong fingers. Another unsuccessful example in Kryukovsky’s “School” is an excerpt from the overture to the opera “The Tsar’s Bride” by Rimsky-Korsakov, where, with the indicated fingering (numbers below), there are nineteen transitions from string to string in 15 bars, and in the 1st bar - the most difficult for smooth playing on different strings, a move on a fourth that can easily be played on one string (the numbers above indicate the best fingering for a given passage).

It must be said that fingering is closely related to the articulation of performance. Therefore, it would be a mistake to consider that fingering has only technical significance, and to be guided when choosing it only by performance convenience. In performing practice, one often has to consciously deviate from fingering conveniences and put up with more difficult fingerings if it is aimed at fulfilling an artistic task.

It happens that a melody seems performable in one position and with a simpler fingering, but in artistic purposes it becomes necessary to change both the position and the fingering in order, for example, to transfer one of the entire phrases to another string, sounding either brighter or, conversely, more dull, muffled. This achieves timbre contrast in phrases or sentences. Positions and the corresponding fingering, as a natural distribution of fingers in one position or another, should be subordinated artistic design, always approaching them creatively. Enormous artistic significance, and on tremulous instruments, perhaps even special meaning has a so-called phrasing fingering.

There is no absolutely continuous sound on the domra, and its length is imaginary. If on an instrument with a continuous sound (bayan, violin, etc.) it is enough to interrupt the sound for a moment between phrases, and the playing becomes articulate, then on the domra, in addition to the sound beginning coming from the right hand and achieved by again applying a mediator to the string, it is often necessary resort to the help of fingering. Therefore, in all cases, it is better to start new phrases from a new position and, if possible, with an independent fingering for each of the phrases.

For the same reason, in addition to separating with the right hand, it is advisable, by replacing the pressing finger with another, to more clearly separate the tremolos being performed, successive notes of the same name (same pitch), so that they do not merge into one, larger duration. Changing fingers will be the additional means that will ensure intelligible, articulate play. When performing technically difficult passages, where it is desirable to emphasize their beginning in each group of notes, it is advisable to change the position (fingers) on the downbeat of the bar, and in such cases it is better to use fingering that is typical for all groups.

If the passage, on the contrary, needs to be performed most coherently, then it is better to change the position to weak lobe tact.

In the middle of linked phrases performed with a tremolo (if necessary), it is also better to change positions on a weak or relatively weak beat of the bar. Such a change will be less noticeable. In addition, when placing your fingers, you should take into account the difficulties that may arise during the execution. If there are grace notes, trills, mordents or generally difficult places to perform ahead, then they must be grasped with the strongest fingers, and therefore all previous fingering when approaching them must be calculated so that the strong fingers fall precisely on these technically difficult places.

But due to some individual characteristics not every fingering is suitable for a student, so his “fingering education” should take into account these features. As a result of the student’s training, his own fingering plan will develop.

Ways to change positions:

A



) the first - step - is most common in gamma-shaped movement

B) second - moving the hand during a pause or an open string, when all fingers are removed from the fingerboard

C) third - sliding the 1st or 4th fingers up or down

D) fourth - substitution of one of the fingers to a new position

D) fifth - change of positions - on notes of the same name (same pitch)

e) sixth - change of positions - due to the duration of the note

^ GAMMA AND ARPEGGIA

Working on scales and arpeggiations prepares the student in advance for the performance of scaled and arpeggiated passages. They are also useful in the sense that on them the student acquires the skill of changing positions step by step. By playing scales and arpeggias with a tremolo, the student will be able to master smooth and rhythmically accurate transitions from string to string.

In addition, scales and arpeggias can serve good material to work on technical and artistic touches.

It is not necessary to play the same scale with all the indicated strokes. One of them can be played with one stroke, and the other with another stroke. It is also not necessary to play scales with all strokes in any one period of training. Work on this or that stroke in scales can begin when it appears in the play.

^ FINGERING GAMMA AND ARPEGGIA

1) major and minor scales in two octaves (with open strings E, A): E major, E minor, A major, A minor

2) major and minor scales in two octaves with (closed strings): F major, F sharp major, F minor, F sharp minor

3) major and minor scales (one-octave): B major, B minor

4) major and minor arpeggias in two octaves with (open strings E, A): E major, E minor, A major, A minor

5) major and minor arpeggias in two octaves with (closed strings): F major, F minor

^ ARTISTIC STROKES

The school of playing the two-row xylophone (marimba) has instructional and artistic material. Intended for high school students of children's music schools, colleges, initial courses conservatories.
The School's instructional material includes exercises and studies on various technical techniques, as well as orchestral solos from works by Russian, Soviet and foreign composers.
The musical material is arranged in order of increasing difficulty and is distinguished by stylistic diversity.
A student starting to work on the School must know the basics musical literacy and master basic sound production techniques on the xylophone; correct blow with a stick, precision of hand movement when moving from record to record, ability to use the tremolo technique (tremolo abbreviated as trem.), etc.
The study of the School, designed for 5-6 years of study, should begin no earlier than the age of 10 and should be periodically supplemented with material from other manuals recommended by the course program.

Introduction
Part I TRAINING METHODOLOGY
Section one. Initial exercises
1. Impact, swing amplitude
2. Alternation of hands (coordination of movements)
3. Double touch
Section two. Tremolo
1. Preparatory exercises
2. Tremolo combined with single strikes
3. Execution of intervals
4. Melodic exercises
5. Gradually increasing the jump interval.
6. Examples of using tremolo.
Section three. Scales and arpeggios
1. Position and staging of the performer’s body
2. Scales
3. Arpeggio in C major
4. Harmonic and melodic minor.
5. Arpeggio in A minor
6. Movement along a scale through a note.
7. Chromatic scale.
8. Gamma tone-semitone
9. Whole tone scale
Section four. Features of fingering when performing scales and arpeggios
1. Sequences.
2. Cross position of the hands when playing with two
3. Metrorhythmic difficulties
4. Minimum amplitude of movement of the sticks.
Section 1 fifth. Arpeggio technique
1. Crossed hand positions
2. Development of technical mobility.
Section six. Tremolo combined with various strokes, performing small and large jumps
1. Legato, teiuto
2. Legato, staccato
3. Execution of big leaps
4. Tremolo combined with single strikes
5. Fragments from works
Section seven. Technique for performing passages and sequences. Cross and counter hand movements
Section eight. Technique for performing large interval jumps, cross arm positions
Fragments from works
Section nine. Chromatic sequences
1. Double iotas
2. Fragments from works
Section ten. Double notes
Section eleven. Playing techniques and fingering features of marimba performance
Part II SKETCHES
No. 1—3 (M. Goldenberg)
No.-4 (V. Snegirev)
No. 5—7 (M. Goldenberg)
No. 8 (V. Snegirev)
No. 9 (M. Goldenberg)
No. 10, 11 (V. Snegirev)
No. 12, 13 (M Goldenberg)
No. 14, 15 (V. Snegirev)
No. 16 (M. Goldenberg)
No. 17 (V. Snegirev)
No. 18 (M. Goldenberg)
No. 19—21 (V. Snegirev)
No. 22, 2^ (M Goldenberg)
No. 24 (L. Torrebruno)
No. 25, 26 (B. Bailey)
No. 27-33 (V. Weigl)
Part III PIECES FOR XYLOPHONE SOLO
G. Telemann. Allegro from Sonatina for violin and harpsichord
J. S. Bach. Scherzo from Partita No. 3 for piano by J. S. Bach. Presto from Sonata No. 1 for solo violin by J. S. Bach. Gigue from Partita No. 2 for solo violin.

Part IV
PIECES FOR XYLOPHONE AND PIANO
G. Telemann. Sonatina No. 6 for violin and harpsichord (Part I)
G. Handel. Sonata Ko 3 for violin and harpsichord (part 1)
D. Shostakovich. Spanish dance from the music to the film "The Gadfly"
Yu. Chichkov. Humoresque song

Part V
ORCHESTRA DIFFICULTIES (FRAGMENTS FROM WORKS BY RUSSIAN, SOVIET AND FOREIGN COMPOSERS)
A. Lyadov. Symphonic painting “Baga Yaga”
Ya. Rimsky-Korsakov. Opera "The Tale of Tsar Saltan"
D. Puccini. Opera "Turandot"
B. Britten. Guide to the Orchestra
A. Babajanyan. Heroic ballad for piano and orchestra
I. Dunaevsky. Fair from the suite for the film “Kuban Cossacks”
K. Debussy. Gigues from the symphonic suite “Images”
S. Rachmaninov. Symphony LA 3 (Part I)
Symphonic dances
M. Ravel. Suite “Mother Goose”
D. Shostakovich. Symphony No. 4 (Part I)
Symphony No. 6 (Part I)
Symphony No. 7 (parts II, IV)
Symphony No. 14 (parts III, V)
Symphony No. 15 (parts I, II, III)
Concerto No. \ for violin and orchestra (Part II) Concerto No. 2 for cello and orchestra (Part III)
B. Svetlanov. Symphonic poem "Daugava"
M. Skorik. Concerto for orchestra
A. Nikolaev. Symphony No. 5 (Part IV)
M. Zhora. Ballet "Return from the Depths".
A. Petrov. Poem in memory of those killed during the siege of Leningrad
T. Khrennikov. Concerto No. 2 for violin and orchestra
(parts I, III)
A. Khachaturyan. Symphony No. 1 (parts I, II)
D. Kabalevsky. Opera "Cola Brugnon"
B. Tishchenko. Symphony No. 5
I. Stravinsky. Wedding
Ballet "Firebird"
Ballet "Petrushka"
S. Prokofiev. Scythian Suite
Cantata "Alexander Nevsky"
J. Gershwin. Overture to the opera "Porgy and Bess"
Symphonic Suite “An American in Paris”
L. Dallapiccola. Ballet "Marsyas"
A. Tomasi. Asian Concert (Final)
B. Bartok. Sonata for two pianos and percussion
Music for strings, percussion and celesta
A. Berg. Opera "Wozeck"