Italy is the birthplace of which musical instruments. Italian Folk Music: A Patchwork of Folklore

Raising children in folk musical traditions is one of the most important means of moral and aesthetic education the younger generation. The ensemble is one of the subjects included in the cycle of disciplines in Children's Art and Musical Schools, the purpose of which is to improve the quality of students' training and expand the possibilities of using them in the development of the musical culture of society. The age of children's art schools and children's music schools is most favorable for mastering new material, taking into account the ability to learn and acquire skills of primary and secondary children school age. Provided that the entire range of special disciplines is covered, the musical development of students reaches more professional level and forms the complex of knowledge, skills and abilities necessary for performing activities from the very first stage of training.

The introduction of the Ensemble discipline into the curriculum makes it possible to ensure a balanced professional and performing development of students. Work in this direction, in addition to the purely musical development of the student, contributes to his personal development: a sense of responsibility to the team, discipline, punctuality, as well as the ability to understand the emotional states of other people and respond to them are cultivated. In addition, in the process of collective creativity, the child acquires communication skills in society within the framework of culture and art, which influences the formation of his worldview and develops priorities in communicating with peers.

The discipline is a process of joint performing activity, consisting of many technological components in an individual-group form of training. Individual form of training involves individual approach to a student who is a member of the ensemble and individual study of the parts, and the group form consists of guiding the musical interaction of the ensemble members. As a result of completing the course, students should have an auditory understanding of the types of ensembles, know the patterns of performance, and be able to balance own capabilities with the capabilities of other ensemble members, as well as with musical and emotional-imaginative tasks.

The existing principle of selecting ensemble members according to the level of musical training and instrument proficiency, taking into account the interpersonal relationships of the ensemble members, is correct in principle, but in the conditions of children's art schools and children's music schools it is not always feasible. In addition, by including students who are less performatively prepared in the ensemble, it is possible to significantly increase their motivation for classes, self-esteem, and level of musical development. Collective performances give children with different musical abilities the opportunity to play on stage and make them more confident in their abilities (having experienced the joy of successful performances in an ensemble, the student begins to feel more comfortable as a soloist). In this case, it is necessary to select a part that a less prepared student can handle (if necessary, you can make your own arrangements).

It is also advisable to use the formation of interpersonal relationships for educational purposes and for the purpose of social adaptation of children. If the team consists of people who respect and value each other, then classes are more effective, children meet more often, and rehearse more intensively. However, creating such a team is quite a difficult task. The teacher, controlling and directing the communication of students, explaining the principles and objectives of positive relationships in the team, regardless of personal priorities and their impact on the quality of the team’s work as a whole, in addition to their direct tasks music training performs the tasks of personal education. Thus, in the development of students in classes in the subject “Ensemble”, two main directions can be distinguished: 1 – professional and performing development; 2 – personal development.

Professional performing development includes the development of musical abilities, such as: a sense of rhythm, harmonic, melodic, polyphonic hearing, a sense of a partner (joint creation and the ability to hear a part of a single musical palette), sight reading, the ability to hold your part with the correct nuances, strokes, phrasing, form and character.

Rhythm, a sense of meter rhythm, is the foundation on which the art of ensemble playing is based. As a rule, participants in children's ensembles have a differently developed sense of rhythm and less “rhythmic” members of the ensemble gravitate towards those who are rhythmically stronger, which contributes to a more rapid development sense of rhythm and more successful formation of students. Collective music playing contributes to the intensive development of all types of musical hearing, significantly to a greater extent than solo performance. Dividing music into parts creates difficulties for the student to understand the musical work as a whole. The development of melodic ear makes it possible to perform your part in accordance with the artistic interpretation of the work. In the matter of developing harmonic hearing, the ensemble form of playing also turns out to be appropriate and necessary, since the ensemble’s reproduction of polyphony and chord verticals allows the student from the very first lessons to participate in the performance of polyphonic music, which creates the most favorable conditions for the development of harmonic hearing. Listening to individual voices in your part and your partner’s part, searching for dynamic, timbre sound solutions contribute to the activation of students' musical and auditory perceptions. Collective music-making allows one to successfully develop polyphonic hearing, since in ensemble works there are often elements of subvocal, contrasting, and imitative types of polyphony. Thus, ensemble playing from the first lessons develops the ability to hear polyphony.

The feeling of a partner is a necessary condition for successful ensemble performance, the ability to hear one’s part in the sound of the entire ensemble, the ability to listen to one’s partner in the ensemble, at the same time perform one’s part freely, adjust the sound, the nature of the performance in accordance with the general tasks and specific conditions of a particular performance, trying to the creation by a single team single work. Subsequently, the acquired skills are transferred to solo performance, significantly improving the quality of the game by transferring the techniques of ensemble playing to working with an accompanist. Reading notes from a sheet during ensemble lessons is more effective and encourages more interest in children. The need to submit to the general pulse helps to quickly master the rules of reading notes from a sheet, increases responsibility for the correctness of the text, and contributes to the acquisition of the ability, when making mistakes, to remain in the ensemble without interfering with partners.

Reading notes from a sheet in an ensemble clearly shows the inadmissibility of corrections, stops, and disregard for pauses and nuances. One acquires the ability to skip failed text and timely, accurately arrive at the bar line, “not jump out” during pauses, read the symbols of nuances immediately, along with the notes, and quickly navigate the musical material. Playing in an ensemble requires special attention to precise execution of strokes. Every deviation from the general strokes violates the integrity of the ensemble and interferes with the partners, and most importantly, damages the expressiveness of the performance. Synchronicity is the first technical requirement of the game.

The importance of strict compliance by each member of the ensemble with dynamic requirements should be realized by students from the first lessons. In addition, formal identity in the execution of dynamic instructions cannot be assumed. Skillful use of dynamics helps to reveal the general character of the music, its emotional content and show the design features of the form of the work. Dynamics in the area of ​​phrasing are of particular importance. As a rule, acquired techniques for precise execution of strokes and dynamic shades in an ensemble, the student begins to apply it in his solo works, which helps improve the quality of performance as a whole.

Personal development includes education personal qualities: sense of responsibility, sense of team, communication skills. Ensemble classes stimulate the student’s interest in the instrument, in lessons in the specialty and instill a love for collective creativity; develop a sense of responsibility to the partner, the team for the result general work, quality of public speaking. Understanding the piece being performed positive emotions, caused by it, create an atmosphere of collective creativity necessary for effective classes and improving the quality level of the team’s performing activities.

Collective music playing is one of the forms of communication that helps solve many problems. psychological problems: shyness, restlessness, selfishness, uncertainty, irresponsibility, etc. In addition, playing in an ensemble unites children, develops will, perseverance in achieving the task, helps overcome indecision, timidity, and lack of self-confidence; Children become responsible for attending rehearsals, learning and correctly performing their part in a timely manner, composure, and concentration; develops communication skills, the ability to appreciate the work of a partner, an understanding of the need for respectful attitude towards team members, mutual assistance, mutual understanding, without which it is impossible to achieve the goal, which ultimately contributes to the social adaptation of the child’s personality in conditions of positive experience of friendly and creative communication with peers and younger and senior comrades and teachers.

Thus, collective forms of music-making in children's art schools and children's music schools contribute to the establishment of a favorable pedagogical atmosphere in the classroom, the creation of a situation for the successful performance of musical works; can significantly increase student interest and have great importance in terms of general musical development, and also play a significant role in preparing the student for further professional activity and personal development.

Task music schools consists not only of preparing students for entry into professional musical institutions, but also of educating active promoters of musical and aesthetic knowledge - participants amateur performances, in increasing the army of music lovers, literate listeners of our concert audiences, the ability to listen and understand music. Working with students in an ensemble not only fully meets the goals and objectives of the educational process in children's art schools and children's music schools, but also significantly increases its effectiveness. Therefore, ensemble classes can be called one of the effective forms musical education and student development.

Bibliography

1. Dragaitseva O.V. Ensemble music playing as a factor in developmental learning. – M., 2005

2. Dronova O.G. The role of the ensemble in educational work with students sib-artforum.ru›2012_teacher_public/2012_ARTICLE/…

3. Krasnova N.V. Methodological development on the topic “Ensemble music-making” nsportal.ru›…2013/04/17/ansamblevoe-muzitsirovanie

4. Laptev I.G. Children's orchestra in elementary school: book. For the teacher. -M.: Humanitarian publishing house. VLADOS Center, 2001.

Dobryansky Education Department municipal district
Municipal educational institution additional education for children
"Dobryansk Children's Art School"

Methodological development:
«Working on ensembles as
one of the forms of development
interest in teaching music
children with average characteristics."
Teacher of the first
qualification category
Rapetskaya Larisa Viktorovna

Dobryanka
2010

Working on ensembles as one of the forms of developing interest in teaching music to children with average natural abilities.

A feature of ensemble music-making is the cultivation of a sense of responsibility in students for the quality of mastering their own part, the achievement by performers of accuracy in tempo, rhythm, strokes, dynamics, agogy, and the specificity of timbre sound, which contributes to the creation of unity and integrity of the musical and artistic image of the performed work.

The purpose of teaching ensemble music:

Raising an aesthetically developed personality, acquiring the basic music education necessary for practical participation in the field of leisure and cultural services to the population in instrumental ensembles various compositions and genres.

Main goals:

Getting to know a wide range of musical literature, mastering new genres;
-development of abilities to coordinate one’s performing intentions with the actions of other ensemble members;
-increasing demands on musical performance skills, the ability to subordinate all means of expression for the sake of building a common artistic whole, expressing a common artistic idea;
- foster a sense of responsibility for oneself and for the team.

The problem of musical development of children with average and weak natural musical abilities is not new. But there is no doubt that this development needs to be done with all children who want to learn music.
A. Goldenweiser wrote: “Almost every person, with the exception of those who are deaf from birth, has, to one degree or another, musicality and the ability to develop it. Therefore, the wider the network of music schools and the more widespread the teaching of music, the better. But I think it's in the making pedagogical process In music schools, we do not sufficiently distinguish between the concepts of general musical education and training of musicians.

Music needs to be taught to everyone in one form or another and to a degree, and not only not everyone, but only very few need to be trained as professional musicians.”
No one has met a six- or seven-year-old child who would not come to his first music lesson with shining eyes, with great anticipation, with boundless love for the unfamiliar world of sounds and the desire to extract them with his own hands.
Zoltan Kodály said: “Let’s put in the hands of children who are receptive to music the key with which they can enter into magic garden music to add meaning to their entire lives.” These words can serve as an incentive for all teachers to work hard. The main task of the teacher is to have at hand an inexhaustible supply of exciting opportunities with which you can learn to play any instrument. Each child needs to find his own approach. Normal, healthy child usually inquisitive, inquisitive, open to external impressions and influences; Almost everything interests him and attracts his attention. This “lever”, created by nature itself, should be constantly used in teaching in general and in music lessons in particular. Music can represent the world, people, animals, various phenomena and pictures of nature. The teacher must reveal and illustrate the expressive and visual possibilities of music. The invention, creative imagination and ingenuity of a musician teacher are not limited by anything, except, of course, common sense, practical expediency and professional actions of the teacher. In any case, if he manages to arouse the interest of students - and not only arouse it, but also maintain it for the required time - the necessary preconditions for success will be created.
Monotonous, monotonous activity leads children to quickly approaching fatigue, and to the state that is defined in children by the word “bored”. “All genres are good, except the boring,” Walter once said. Listening to music, singing in an ensemble or choir, music quizzes, playing in an ensemble - this is not a complete list of different types musical activity. It's hard to say which one is more important and which one is less important. Obviously, what matters most is how skillfully and skillfully they are applied.
One such interesting and exciting opportunity is playing in an ensemble. We know that an ensemble is a type of joint music-making that has been practiced at all times, at every opportunity and at any level of instrument proficiency.
Almost everyone wrote in this genre outstanding composers. They wrote both for home music playing and for intensive training and concert performances.
One of the important tasks is the selection of ensemble members who are equal in their musical training and instrument proficiency. It is necessary to take into account the interpersonal relationships of the ensemble members. If the team consists of people who respect and value each other, then classes are more effective, children meet more often, and rehearse more intensively. A favorable moral and psychological climate in the ensemble is the key to successful work.
It is necessary to begin lessons with works accessible to children, in the playing of which technical difficulties are overcome relatively easily, and all attention is directed to artistic purposes. Unfortunately, quite often one has to observe the opposite picture, when ensemble players, not having a sufficient basis, submit for tests and exams works that are too difficult for them. A student shows increased interest in classes when he does not feel helpless, but enjoys the results of his work. It is better to learn several easy pieces and play them at a high artistic level than to linger over one complex piece without ever getting to the point of creative interpretation. Joint playing differs from solo playing primarily in that both the general plan and all the details of interpretation are the fruit of the thoughts and creative imagination of not one, but several performers and are realized through their joint efforts. By synchronicity of ensemble sound we mean the coincidence with extreme precision of the smallest durations (sounds or pauses) for all performers.
Synchronicity is the result the most important qualities ensemble - a common understanding and feeling by partners of tempo and rhythmic pulse.

In the area of ​​tempo and rhythm, the individuality of the performers is very clearly reflected.
A slight change in tempo, unnoticeable in solo performance, or a slight deviation from the rhythm when playing together can dramatically disrupt synchronicity. The slightest violation synchronicity when playing together is captured by the listener. The musical fabric is torn, the vocal harmony is distorted.
Playing in an ensemble helps a musician overcome his inherent shortcomings: inability to keep the tempo, sluggish or overly rigid rhythm; helps make his performance more confident, vibrant, and diverse.
One of the most interesting sections in working with students is working on a chamber ensemble, i.e. ensemble with stringed instruments.
Chamber ensembles combine instruments with different dynamic capabilities. During the rehearsal process, it turns out that with nuance, some parts drown in the overall sound and important elements the musical fabric disappears for the listener. There is a need to adjust the usual ideas. Special meaning take on three sounds:
-each instrument separately;
-in an ensemble;
- the entire ensemble.
If the first does not require explanation, then the second has one significant feature: it is determined by the dynamic capabilities of the weakest instrument. For performers, this sound of the weakest serves as a kind of standard, according to which they “adjust” the sound strength of their parts accordingly. The lead sound will be more intense than the backing sound; with a transparent texture it will be different, more delicate, than with a dense one. Working on a stroke means clarifying a musical idea, finding the most successful form of its expression. The strokes in the ensemble depend on the strokes of the individual parts. Only with a general sound can the artistic feasibility and persuasiveness of a solution to any basic issue be determined. When studying a chamber ensemble, i.e. ensemble with the participation of bowed instruments, the teacher needs to pay close attention to the bowed lines, which sometimes it is advisable to change in accordance with the bowed logical structure of the phrase and its dynamics. The bow league does not exclude the possibility of a break in sound, a pause, and its absence - continuous sound. Many composers were willing to use string strings in ensemble piano parts. Pianists understand that such leagues do not require the removal of the hand at the end of each phrase and usually mentally combine several short leagues into one common one.
However, leagues have another, much more important meaning. They can determine the structure of musical speech, its “syntax”, division into phrases and show the intonation of the motive.
Such leagues are usually called “phrase” or “semantic” leagues.
Living phrase is the art of agogy. A naturally “breathing” piece as a feeling of the whole is a logical agogic that does not destroy the internally uniform tempo. Tempo, meter and agogics must be subordinate to each other and flow from one another: meter appears from resistance to tempo, agogics from resistance to meter, tempo from the curbing of meter and agogics.
To successfully master all these tasks, it is possible to use a synthesizer in the classroom.
Developing a sense of rhythm and ear for timbre, rhythmic control is the most difficult task in the learning process, and the synthesizer is an indispensable assistant here. Compared to other musical instruments, the synthesizer is the youngest and at the same time the most multifunctional, multifaceted, universal instrument.
What opportunities open up when using a synthesizer in the classroom? String and wind instruments are given the opportunity to sound accompanied by various ensemble options, styles and rhythms.
Students' performance of works with automatic accompaniment, and with variable rhythms, will provide incomparably greater skills in ensemble playing than playing to the accompaniment of an accompanist. An example is a work based on famous French melodies (arranged by S. I. Morozova)
"Medley."
For the majority of school students, performance solo concerts with an orchestra remains an unattainable dream today. Here a synthesizer could help: if not completely imitate an orchestra through playing a computer Midi file, then create the illusion of an orchestral ensemble by recording the orchestra part in memory.
Concerts of class ensembles, which every school teacher has, can turn into real “art evenings”, surprising with the variety of possibilities. Playing in an ensemble with different synthesizer tones is possible even for beginners. Spandevecchia. Good bug.
The art of “live” playing the synthesizer in concert practice, when all sounds are born by the performer directly at the moment of performance, consists of two stages.
1) Preparing a synthesizer for performing a specific piece, which includes selecting the necessary styles and timbres. Creation and entry into the registration memory of settings for all parts of the form of a musical work.
2) The ability to play with the right texture and strokes for each timbre, the ability to accurately switch from one setting to another, creating a musical work that is dramatically structured in form.

For the concert use of any repertoire, a creative attitude of students and teachers to the selected material is required.
The auto accompaniment of the synthesizer is the main assistant, which is completely subordinate to the performer. To come up with a role for him in each specific work is the task of the student and teacher.
Based on the repertoire, various types of harmony, polyphony, meter rhythm, and texture are consolidated. Students should find a place in the repertoire of works by Russian and foreign composers, classical composers. W. Mozart “Little Night Serenade”.
In conclusion, I would like to note that the main thing for all forms of work is that the creative initiative remains with the student.
The teacher’s task is to develop and activate creativity student's personality.

Literature: V.V. Kryukov "Musical pedagogy".
G.M. Tsypin “Psychology of musical activity”.
V.G. Peshnyak "Course of playing the synthesizer."
I. Shavkunov “Methods of playing the synthesizer.”
Full text of the material Working on ensembles as one of the forms of developing interest in teaching music to children with average abilities. see the downloadable file.
The page contains a fragment.

1.1. Ensemble as one of the effective forms of musical education of students………………………………………………………………3

2. Main part………………………………………………………4

2.1. Pedagogical organization of the process of working with the school ensemble……………………………………………………………4

2.2. Collective form work……………………………...5

2.3. External and creative discipline in the ensemble…………7

2.4. Ensemble practice methodology………………………….8

a) selection of repertoire…………………………………………...8

b) work on strokes……………………………………..9

c) work on dynamics…………………………………….9

d) learning to read notes from a sheet……………………………….10

e) work on the work………………………………….10

3. Conclusion……………………………………………………….12

4. References………………………………………………………………...13

1. Introduction

It's no secret that most music school students study music not in order to choose a profession as a musician, but for general musical development and horizons. The task of music schools is not only to prepare students for admission to professional musical institutions, but also to educate active promoters of musical and aesthetic knowledge - participants in amateur performances, to increase the army of music lovers, competent listeners of our concert audiences, to form people whose lives will be enriched great gift - the ability to listen and understand music.

Modern child It’s difficult to surprise with anything now, the range of their interests is very multifaceted and wide, since in addition to the music school, students attend some other club or section, so the task of a music school (or art school) teacher is not only to interest and teach how to play an instrument, but also also keep it. Each child must be approached separately, each child must be dealt with in his own way. One of the interesting and exciting activities with the student is playing in an ensemble.

The ensemble as one of the effective forms of musical

education of students

An ensemble is a type of joint music-making that has been practiced at all times, at every opportunity and at any level of instrument proficiency. Almost all outstanding composers wrote in this genre.

Ensemble classes are one of the effective forms of musical education and student development. For both the future professional musician and amateur performer, playing in an ensemble and collective performances provide vivid musical impressions: the ensemble pleases him with its unexpected possibilities, new timbre combinations, bright dynamics, captivates him with the commonality of the creative task, unites and directs musical emotions.

Classes in the ensemble class also help to consolidate the skills acquired in the special class lessons. It is necessary that ensemble classes stimulate the student’s interest in the instrument, in lessons in the specialty and instill a love for collective creativity. A sense of responsibility to a partner, the team for the result of common work, and the quality of public speaking should naturally arise in the ensemble class. Understanding the piece being performed and “falling in love” with it create an atmosphere of collective creative enthusiasm necessary for effective lessons with children. The teacher, revealing the “secrets” of ensemble play and correctly directing the children’s enthusiasm, cultivates in them collective creative and performing discipline.

The ability to play music with several partners or as part of a large group is necessary in the future both for participation in amateur groups and for successful studies in ensemble and orchestra classes at music schools.

Not always to the ensemble, like academic discipline, due attention is given. Often, teachers use the hours provided for playing music to individual lessons. Another problem for music school teachers is to find suitable repertoire. The lack of appropriate literature for bayan (accordion) ensembles of children's music schools slows down the learning process and the opportunity to show themselves on the concert stage. Many teachers themselves make transcriptions and arrangements of the plays they like. I would like to note the importance of ensemble work from the very first instrument lessons. How formerly a student begins to play in an ensemble, the more competent, technical, and musician he will become.

Many special instrument teachers practice ensembles within the classroom. These can be either homogeneous or mixed ensembles. Start off better job in an ensemble with students of the same class.

2.1. Pedagogical organization of the process of working with the school ensemble

Execution of even the simplest drawing poses serious challenges for the student. Even when playing one note, the student becomes familiar with the name of the keys, the range of the instrument, masters rhythmic patterns, elementary dynamics, as well as initial playing movements. When playing in an ensemble, the student feels like a participant in full-fledged music making, which helps awaken his love for music.

Cultivating an interest in music as a language of feelings is a very important moment in initial education, since it is during this period that the foundations for development are laid creativity student.

When performed together with a teacher, the student catches inaccuracies in rhythm and tempo quite well. The student becomes convinced for himself that even the slightest deviation from the tempo, the slightest violation of the rhythm, unnoticed during solo performance, immediately becomes noticeable when playing in an ensemble.

Thus, from the first lessons in the ensemble class, simultaneously with learning his part, the student receives a concrete understanding of one of the most important conditions of ensemble playing - synchronicity of performance, unity of rhythmic pulse, tempo.

Using the same simple examples, the role and meaning of a pause in musical text. Usually a pause is either “swallowed” or learned formally, meaninglessly. The same thing often happens with playing long notes. Playing in an ensemble teaches you to carefully handle long durations and pauses. Their role in a musical context becomes clearer and is much more quickly comprehended by the student. Alternately with the teacher, performing a long sustained note or pause accompanying a musical phrase, the student is convinced of the need to listen to the end of the phrase without “stepping” on it, and waits for his turn to perform this phrase.

A long note or pause accompanying a phrase or motif sounding in another voice is perceived naturally. It is very important that during pauses and long notes the musical thought was not interrupted so that these moments were not perceived as a stop in the music.

So, instilling ensemble playing skills requires systematic, step-by-step (from simple to complex) and purposeful work over a long period of time.

As mentioned above, learning basic skills of playing in an ensemble is more effective if the student’s first partner in the ensemble is a teacher. Classes in the ensemble class provide a clear understanding of the intonation capabilities of the piano, button accordion, and accordion.

2.2. Collective form of work

Students junior classes Those starting ensemble lessons for the first time get more benefit from playing in duets. By selecting an interesting repertoire, helping to master the individual lessons difficulties of playing with a partner, the teacher can greatly engage the student in this form of ensemble. Duets are an excellent stepping stone to unisons and other ensembles for two or more voices.

One of the important tasks is the selection of ensemble members who are equal in their musical training and instrument proficiency. It is necessary to take into account the interpersonal relationships of the ensemble members. If the team consists of people who respect and value each other, then classes are more effective, children meet more often, and rehearse more intensively. A favorable moral and psychological climate in the ensemble is the key to successful work.

A student shows increased interest in classes when he does not feel helpless, but enjoys the results of his work.

Joint playing differs from solo playing primarily in that both the general plan and all the details of the interpretation are the fruit of the thoughts and creative imagination of not one, but several performers and are realized through their joint efforts. By synchronicity of ensemble sound we mean the coincidence with extreme precision of the smallest durations (sounds or pauses) for all performers. Synchronicity is the result of the most important qualities of the ensemble - a common understanding and feeling by the partners of tempo and rhythmic pulse.

In the area of ​​tempo and rhythm, the individuality of the performers is very clearly reflected. A slight change in tempo, unnoticeable in solo performance, or a slight deviation from the rhythm when playing together can dramatically disrupt synchronicity. In such cases, the ensemble “leaves” the partner, either ahead of him or behind him. The slightest violation of synchronicity when playing together is detected by the listener. The musical fabric is torn, the vocal harmony is distorted.

Playing in an ensemble helps a musician overcome his inherent shortcomings: the inability to keep the tempo, sluggish or overly rigid rhythm, helps to make his performance more confident, bright, and diverse.

If you skillfully choose a repertoire, the children will develop confidence in their capabilities and their interest will be intensified. It is very useful to organize an ensemble with a singer. R. Schumann also advised to accompany singers more often so that pianists could feel their breath more subtly musical phrase, were faced with a completely different (compared to the piano) type of sound engineering - long-lasting chanting, the length of the sound of a phrase, its enormous flexibility.

Accompanying classes are also important for expanding dynamic range pianist, accordion player, accordionist. After all, each accompaniment should be played differently, with different strengths sound, phrasing, density, highlighting the low or high registers of the instrument.

The choice of one stroke or another depends entirely on musical content, and its interpretation by performers. Working on a stroke means clarifying a musical idea, finding the most successful form of its expression. The strokes in the ensemble depend on the strokes of the individual parts. Only with a general sound can the artistic feasibility and persuasiveness of a solution to any basic issue be determined. Strokes in some text are indicated using lines, dots, dashes, accents, and verbal instructions.

In conclusion, I would like to note that the main thing for all forms of work is that the creative initiative remains with the student. The teacher’s task is to develop and activate the creative beginning of the child’s personality.

2.3. External and creative discipline in the ensemble

A concert or performance is the creative result of any group. The focus of the leader’s attention should be the preparation of the ensemble for the performance, behavior on the stage, development of sustained attention, clarity and thoughtfulness of actions. Participants need to clearly know who is coming on stage from which side and behind whom. We must ensure that everyone comes out outwardly actively with correct posture, observed the interval in movement, walked at a certain uniform pace, knew his place on the stage, stood or sat beautifully, and held the instrument beautifully when exiting. An equally difficult organizational moment is leaving the stage. Equally important is the requirement for appearance speaker. It is recommended that the ensemble members themselves discuss the performance collectively and give them the opportunity to express their impressions of their performance. Playing in an ensemble provides to the young musician the opportunity to creatively communicate with broad masses of listeners. Ensemble playing is not only one of the important forms of developing professional skills among performers. It also builds character, instills in children a sense of collectivism, camaraderie, and involvement in big deal, propaganda of musical culture. The task of the music school and teachers is to widely popularize new composers, to educate classical works, study works in different styles and genres. It is very important for teachers themselves to play at concerts, setting an example for children.

The development of ensemble performance contributes to the further growth of the popularity of the button accordion and accordion - the favorite instruments of the Russian people. Education of an ensemble group is one of the most important tasks teacher-leader.

2.4. Ensemble practice methodology

Ensemble classes at a music school cannot be reduced to just general meetings between students and the teacher to jointly learn and perform pieces. It is clear that without the necessary technical freedom, without confident command of the text, joint meetings of ensemble members are generally meaningless. But repeated joint performance of a piece, even with conscientiously, competently prepared parts, does not yet lead to the solution of specific ensemble problems. Accurate reproduction of the text, fulfillment of all nuances, strokes, and tempo changes specified by the author or teacher must be combined with a sense of commonality for all participants performing "breathing". That is why playing in an ensemble must be taught specifically as one of the types musical art.

In ensemble lessons, children learn to hear themselves, their partners, and at the same time the sound of the ensemble as a whole. They learn to “fit” themselves into the overall sound of the ensemble, either “dissolving” in it or going out into foreground, submitting to the artistic interpretation and logic of the work. One of the features of ensemble playing is that several people with different levels of musical development and performance training are united into a single performing organism.

Ensemble practice methodology is one of the pressing topics in music education.

a) selection of repertoire

When working with school ensemble members, you have to great attention devote to compiling a repertoire. The repertoire should be compiled taking into account not only technical capabilities students, but also their temperament, and “variety tolerance”, and age. In small ensembles (duets, trios), it makes sense to unite students of approximately equal abilities. In large ensembles, you can alternate less advanced children with stronger ones who have the skills of stable intonation, rhythmic endurance, and experience in pop performances. As a result, the partners mutually enrich each other: the weaker student, as if relying on the stronger one, gradually gains confidence and “reaches out” to him; the stronger one, in turn, learns to lead, not succumbing to the mistakes of his partner, and acquires the skill of an accompanist. Pieces of varied nature (moving and cantilena) are accepted by children with great interest and give the teacher the opportunity to focus students’ attention on different aspects of ensemble technique – melodic and rhythmic.

b) work on strokes

Playing in an ensemble requires special attention to precise execution of strokes. Each deviation from the general strokes violates the integrity of the visual perception of the ensemble and, of course, interferes with the partners, and most importantly, damages the expressiveness of the performance, since the strokes carry a large dynamic and semantic load. Naturally, the use of this or that stroke is completely dependent on the content of the work, nuance, tempo, and rhythmic pattern.

Working on strokes means clarifying the musical idea, finding the most successful form of its expression. Synchronicity is the first technical requirement of the game. We need to take and record the sound together, hold pauses together, and move on to the next sound together.

Of course, one has to take into account the level of advancement of the students, as well as the number of ensemble members, since the larger the ensemble, the more difficult it is to perform complex strokes synchronously.

c) work on dynamics

Dynamics is one of the most effective expressive means. Skillful use of dynamics helps to reveal the general character of the music, its emotional content and show the design features of the form of the work. Dynamics in the area of ​​phrasing are of particular importance. Differently placed logical accents radically change the meaning of a musical work. For example, during classes you can invite children to perform an excerpt of the work they are studying, changing its entire dynamics. The results of such execution “on the contrary” are very convincing to the students.

The importance of strict compliance by each member of the ensemble with dynamic requirements should be realized by students from the first lessons. In addition, formal identity in the execution of dynamic instructions cannot be assumed. The teacher teaches the ability to correctly perform one or another general nuance in different voices depending on their semantic load, understanding the relativity of the sound of the same nuance (the piano melody is brighter than the piano of the accompanying figure). Nuances often cause changes in tempo (forte - faster, piano - slower, crescendo - faster...). From the first lessons, the teacher needs to pay constant attention to this.

d) learning to read notes from sight

With the ensemble, sight reading lessons are required. It is necessary to choose easier works so that technical difficulties do not distract the student from the main tasks. Each student receives his first sight-playing skills in classes in his specialty. But in ensemble lessons, reading notes is more effective and arouses more interest in children. The obvious need to obey the general pulse helps to quickly assimilate the rules of reading notes from a sheet. Contact with partners provides support, while increasing everyone’s responsibility for the text. The ability is acquired to remain in the ensemble when making mistakes, without interfering with partners; the student is convinced of the value of competent, convenient fingering, which helps to quickly “grasp” the text.

Reading notes from sight in an ensemble, as it were, demonstrates to the student the inadmissibility of any corrections, stops, or disregard for pauses or nuances. Children learn to skip “unread” notes for the sake of timely, accurate arrival at the bar line, “not to jump out” during pauses, read the symbols of nuances immediately, along with the notes, especially clearly responding to the piano, and quickly navigate the musical material. Practice shows that the ability to sight read well is a necessary component creative activity both a professional and an amateur participant. The success of training depends on how seriously and regularly such classes are conducted from the very first stages of music education. Very great benefit Sight reading lessons bring confidence on the stage and performing “tenacity” - qualities necessary for public speaking.

d) work on the work

Working with the student on the musical text of his part, the teacher, being the student’s first partner, achieves pure melodic and harmonic intonation. The method of visualization is also convincing when working on the rhythmic side of the work, nuances, strokes. The student realizes that playing in an ensemble places special demands on these elements, greater than when playing solo.

Before meeting with partners, the student must firmly know the text of his part with all the line and nuance symbols. Then, having received an idea of ​​the piece being learned in an ensemble with a teacher, he is ready for collective lessons.

At the first collective lesson, the teacher clearly explains to the students the role of each part, its musical pattern, the relationship of the voices, the distribution of their functions into the main, sub-voice, accompanying, etc. From the first lessons of the ensemble, we must try to instill in the student the consciousness of equal responsibility for the performance of each part, each voice , the ability to subordinate your voice common tasks of this work, understanding each episode in context.

The process of an ensemble’s work on a piece can be divided into three stages, which in practice are closely interconnected:

familiarization of the ensemble with the work as a whole;

technical development of expressive means;

work on the embodiment of an artistic image.

The task of the first stage is to create among ensemble members a general intellectual and emotional impression of the work as a whole.

At the second stage of working on the work, the main task is to overcome technical difficulties by the ensemble.

One of the teacher’s tasks at the final stage is to achieve maximum results with minimal expenditure of energy and time for ensemble players.

Conclusion

The participation of ensembles in concerts is of great educational importance. Practice has provided many examples of how playing in an ensemble has a beneficial effect on children. By arousing interest in music, ensemble lessons encourage even careless students to take music school classes more seriously.

Ensemble music playing not only develops an ear for music, it promotes the development of polyphonic thinking, teaches you to hear and understand the content of music.

Most of the world's musical heritage consists of works written for orchestras or for soloists accompanied by orchestras, operas, choirs, and various kinds of ensembles. The musical culture of a listener who has acquired ensemble music-playing skills since childhood is higher, and the palette of his perception of music is richer.

A teacher at a children's music school is responsible for shaping the musical tastes of his students. Regardless of who he is teaching with, a future professional or just a music lover, the teacher must remember the main purpose of his work - to bring children the joy of communicating with music.

Bibliography

Barenboim L. The path to playing music. L.: " Soviet composer", 1980. – 351 p.

Bryzgalin V.S. Joyful music-making. An anthology of ensemble music in four volumes. – Chelyabinsk, 2007.

N. Berger Rhythm first. Educational and methodological manual for general education and music schools, art schools, departments of pedagogical practice of music schools and conservatories. Publishing house "Composer", St. Petersburg, 2004 - 70 p.: notes.

Issues of music pedagogy. Vol. 2: Sat. articles. Ed. -composition Rudenko V, I. – M.: Music, 1990, - 160 p.

Zimina A.N. Fundamentals of musical education and development of young children. Textbook for students higher textbook establishments. – M.: Humanite. ed. VLADOS center, 2000. – 304 p.

Kryukova V.V. Musical pedagogy. – Rostov n/d: “Phoenix”, 2002. – 288 p.

Laptev I.G. Children's orchestra in elementary school: Book. for the teacher. – M.: Humanite. ed. VLADOS center, 2001. – 176 p.: notes.

V. Ushenin. School of ensemble music playing for button accordionists (accordionists) - part 2, grades 4-6. Rostov-on-Don. Phoenix.2011

Let's play together: Collection of ensembles for button accordion. Rostov-on-Don. Phoenix.2011

Collective performance as a duet or trio of button accordion players (accordionists) is very attractive because it brings the joy of teamwork. They practiced playing music together at any level of instrument proficiency and at every opportunity. Many composers wrote in this genre for home music playing and concert performances. Bela Bartok, a Hungarian composer, teacher, and folklorist, believed that children should be introduced to ensemble music-making as early as possible, from their first steps in music.

Ensemble as an academic discipline is not always given due attention. Often, teachers use the hours allocated for playing music for individual lessons. However, nowadays it is impossible to imagine musical life without performances by accordion ensembles. This is evidenced by the performances of duets, trios, and larger ensembles at concert venues, festivals and competitions. Duets and trios of button accordionists (accordionists) are a long-established ensemble form that has traditions since the 19th century, with its own history, “evolutionary development”, rich repertoire - original works, transcriptions, arrangements. But these are professional teams. But for school ensembles there are problems. For example, the problem of repertoire. The lack of appropriate literature for bayan (accordion) ensembles of children's music schools slows down the learning process and the opportunity to show themselves on the concert stage. Many teachers themselves make transcriptions and arrangements of the plays they like.

It is important to start working on the ensemble from the very first lessons of the instrument. The earlier a student begins to play in an ensemble, the more competent, technical, and musician he will become.

Many special instrument teachers practice ensembles within the classroom. These can be either homogeneous or mixed ensembles. It is better to start working in an ensemble with students of the same class. In practice, we have seen that ensemble work can be divided into three stages.

So, Stage I. The child acquires ensemble music-making skills already in the first lessons. Let these be pieces consisting of one or more sounds, rhythmically organized. At this time, the teacher performs the melody and accompaniment. In the process of this work, the student develops an ear for performing pieces with accompaniment (with the left hand), concentrates on rhythmic accuracy, correct distribution of bellows, masters elementary dynamics, and initial playing skills. Rhythm, hearing, and most importantly, a sense of ensemble, a sense of responsibility for a common cause develop. Such performance will arouse the student’s interest in a new sound of music, interesting and colorful. Indeed, unlike a student pianist, who has the opportunity to use both hands in his work, student accordionists and accordionists master the performance first with the right and then with the left hand. In our lessons we use the plays “Our Simple Song” by A. Alexandrov, “Russian Folk Dance”, “Lullaby” from the opera “The Tale of Tsar Saltan” by N. Rimsky-Korsakov from the collection “Young Accordionist” by G. Boytsova, from the educational methodological manual by V. S. Bryzgalin “I play the button accordion” Children’s song “Sun”, “Dudarik”, “Kozlik”..., as well as from the anthology for grades 1-3 of children’s music school “Class of accordion ensemble” by V. Shramko . During the first month of lessons on the instrument (it all depends on the student’s abilities), the student plays simple melodies accompanied by a teacher. At this stage of work, it is important for students to feel the specifics of homophonic-harmonic and try themselves in performing pieces with elements of polyphony. Plays should be chosen that are varied in tempo, character, etc.

I know from experience that students enjoy playing in an ensemble. Therefore, the above plays can be played individually with each student, or students can be combined into duets or trios (at the discretion of the teacher, based on the capabilities of the instruments and their availability). For a duet (trio), it is important to select students who are equal in musical training and instrument proficiency. In addition, the interpersonal relationships of the participants must be taken into account. At this stage, students should understand the basic rules of playing in an ensemble. First of all, the most difficult places are the beginning and end of a work, or part of it.

The opening and closing chords or sounds must be played synchronously and cleanly, regardless of what or how they sounded between them. Synchronicity is the result of the main quality of the ensemble: a common understanding and sense of rhythm and tempo. Synchronicity is also a technical requirement of the game. You need to take and remove the sound at the same time, pause together, and move on to the next sound.

The first chord contains two functions - a joint beginning and determination of the subsequent tempo. Breathing will come to the rescue. Inhalation is the most natural and understandable signal for any musician to start playing. Just as singers take their breath before performing, so do musicians - performers, but each instrument has its own specifics. Brass players show inhalation by the beginning of the sound, violinists - by moving the bow, pianists - by “sighing” the hand and touching the key, for accordion players and accordionists - along with the movement of the hand, holding the bellows. All of the above is summarized in the initial conductor - aftertaste.

An important point is setting the desired tempo. It all depends on the speed of inhalation. A sharp breath tells the performer about fast pace, calm – a signal of slowness. Therefore, it is important that the duet participants not only hear each other, but also see each other; eye contact is needed.

At the first stage, ensemble members learn to listen to the melody and the second voice, the accompaniment. The works should have a bright, memorable, simple melody, the second voice should have a clear rhythm. The art of listening and hearing your partners is a very difficult matter. After all, most of the attention is directed to reading notes. Another important detail is the ability to read the rhythmic pattern. If a student reads the rhythm without going beyond the meter, then he is ready to play in an ensemble, since the loss of a strong beat leads to collapse and stopping. If the team is ready, first performances are possible, for example at a parent meeting or class concert.

On Stage II We develop the knowledge, skills and abilities acquired at stage I. We also comprehend the depths of ensemble music playing. In the process of this work, the student develops an ear for performing pieces with accompaniment (with the left hand), concentrates on rhythmic accuracy, correct distribution of bellows, masters elementary dynamics, and initial playing skills. Rhythm, hearing, unity of ensemble strokes, thoughtful performance and, most importantly, develop. the main thing is the feeling ensemble, a sense of responsibility for a common cause.

The repertoire consists, along with classical works, of plays with effects (glissando, knocking on open bellows, on keys, clapping, etc.), and pop miniatures. Such a repertoire awakens interest and prepares for new work and performances. In our work we used the following collections:

- “Melodies that are always with you”, where pieces are selected for a duet of button accordions (accordions) accompanied by piano. The children really enjoy working on them; they learn them easily and enjoy performing them at school concerts. This new form playing music, which contains certain difficulties. For example, in G. Miller’s play “Moonlight Serenade” from the film. “Serenade of the Sun Valley” you had to follow your partner’s part and listen to the piano accompaniment. This requires adaptability and skill. Much effort was made to achieve synchronicity when taking and removing sound, the relationship of dynamics in the bayan and piano parts, to hear pauses, to feel the rhythmic pulse, and the development of the melody.

S. Likhachev Pieces for accordions (four editions).

Stage III. This stage corresponds to the upper grades (6-7), when the curriculum does not provide for hours of music playing. In our opinion, this is an omission, because students already have the necessary set of knowledge, skills and abilities, both in solo performance and in ensemble performance, they are capable of more complex, spectacular plays. In this case, the duet (or trio) is able to solve more complex artistic problems.

For a more colorful sound of a duet or trio of bayans (accordions), it is allowed to expand the composition by attracting additional instruments. It can be drums, piano, synthesizer, double bass and balalaika, guitar. Such extensions can “color” the work and make it bright. This method is suitable for concert performances and will make any piece, even the simplest one, attractive. However, in the classroom it is better to conduct classes without additions, so that the duet participants hear all the nuances of the musical text.

For performances, you need to accumulate a repertoire of different genres. Since you have to perform in different audiences, in front of people with different mentalities, you need to have a different repertoire: from classical to pop.

In conclusion, I would like to say that currently there is a need for concert activities of ensembles for musical education and the popularization of folk performance. It is also important to work with students to develop professional qualities. Concert performances by children's ensembles are a hit with audiences. These performances contribute to the acquisition of confidence, a sense of stage freedom, and instill a taste and love for public speaking. All this speaks to the need to engage in ensemble music playing throughout the course of studying at children's music schools.

Literature.

1. Bryzgalin V.S. Joyful music-making. An anthology of ensemble music in four volumes. – Chelyabinsk, 2007.
2. Kryukova V.V. Musical pedagogy. – Rostov-on-Don: “Phoenix”, 2002.
3. Shramko V.I. Class of the accordion ensemble. – St. Petersburg. : “Composer”, 2008.

Main directions in working with an ensemble

Methodological report

“Main directions in working with an ensemble”

Troshina Vera Timofeevna,

Guitar teacher at the Children's Art School

Rtishchevo, Saratov region

An ensemble is a group of performers performing together. The art of ensemble performance is based on the performer’s ability to balance his artistic individuality, his performing style with the individuality of his partner’s performance. An ensemble is a collective form of play, during which several musicians jointly reveal the artistic content of a work through performing means. Performing in an ensemble involves not only the ability to play together, but something else is important here - to feel and create together. Working in a team undoubtedly involves certain difficulties: it is not so easy to learn to feel like part of the whole. At the same time, playing in an ensemble develops a number of valuable professional qualities in the performer - it disciplines rhythm, gives a sense of the right tempo, promotes the development of melodic, polyphonic, harmonic hearing, develops confidence, and helps achieve stability in performance. It is known that when a student performs in a solo game with uncertainty, stuttering, after playing in an ensemble, he begins to play more confidently. Weaker students begin to catch up to the level of stronger ones; from prolonged communication with each other, everyone becomes better as a person, as an individual, since such qualities as mutual understanding, mutual respect, and a sense of collectivism are cultivated. From what has been said, we can conclude that an instrumentalist who has never played in an ensemble is depriving himself of a lot, because the benefits of this type of activity are obvious. One of the most important conditions for successful work is the ability to be critical of yourself and your comrades. It is known that the word “self-criticism” is easier to say than to put it into action. But you must not only practice, but also not be stingy with praise, be able to encourage and inspire. It has long been noted that praise, even if not fully deserved, stimulates the activity of most people. A child needs self-confidence. The basic rule of the ensemble is “One for all, all for one”, “The success or failure of one is the success or failure of all.”

Rhythm as a factor of ensemble unity

Among the components that unite students into a single ensemble, metro rhythm has perhaps the main place. Indeed, what helps ensemble players (and there may be two or more of them) play together so that it seems as if one person is playing. This is a feeling of metro rhythm. He, in essence, performs the functions of a conductor in the ensemble; each participant’s feeling of strong beats is that “hidden conductor,” whose “gesture” helps to unite the ensemble members, and, therefore, their actions into one whole. The feeling of the strong and weak beats of a bar, on the one hand, and the rhythmic certainty “within a bar,” on the other, is the foundation on which the art of ensemble playing is based. Unity and synchronicity of its sound is the first among other important conditions. If, if the execution of the remaining components is inaccurate, only the overall artistic result is reduced, then if the meter rhythm is violated, the ensemble collapses. But this is not the only meaning of the meter rhythm. He is also able to influence the technical side of performance. Rhythmic certainty makes the playing more confident and technically reliable. In addition, a student who plays irregularly is more susceptible to all sorts of accidents, and accidents, as we know, lead to a loss of psychological balance and the emergence of anxiety. How can we ensure that each of the participants, while performing their part, strengthens the rhythmic foundation of the entire ensemble? It is necessary to work systematically and persistently in this direction. In an ensemble, of course, there may be performers who have a different sense of rhythm. You need to start with cultivating a sense of absolute, precise and “metronomic” rhythm: this will become the unifying principle in the general collective rhythm. It is necessary that the ensemble have rhythmically stable performers. Then the others will begin to gravitate towards those who are rhythmically stronger.

Dynamics as a means of expression

When playing in an ensemble, you need to be economical in spending dynamic resources and manage them wisely. We must proceed from the fact that, no matter how rich the ensemble is in instruments of bright timbre, one of its main reserves, giving the sound flexibility and sophistication, is dynamics. Different elements of musical texture should sound at different dynamic levels. In both painting and music, nothing will come of it if everything has equal power. In music, as in painting, there is a foreground and a background. Having cultivated such a sense of dynamics, the ensemble player will unmistakably determine the strength of the sound of his part relative to others. In the case when the performer in whose part the main voice sounds plays a little louder or a little quieter, his partner will immediately react and perform his part also a little louder or quieter. It is important that the measure of these “slightly” be accurate.

How to practically work on dynamics in an ensemble. First you need to learn to play within a particular dynamic shade absolutely evenly. For example, you can ask all participants to play one note or scale on a flat P (piano), then on a flat mf, and so go through all the dynamic steps. Of course, the power of sound is not as definite a concept, just as the pitch mf on a guitar is not the same as mf on a piano, f on a balalaika is not the same as f on a button accordion. The performer must cultivate a developed ear (microhearing), supplementing the dynamics with the concept of microdynamics, which means the ability to register the slightest deviations in the direction of increasing or decreasing the strength of sound.

Tempo as a means of expression

Determining the tempo of a piece is an important point in the performing arts. A correctly chosen tempo contributes to the correct transmission of the character of the music; an incorrect tempo distorts this character to one degree or another. Although there are author’s instructions for tempo, even down to determining the speed using a metronome, the tempo is “laid in” in the music itself. Rimsky-Korsakov also argued that “a musician does not need a metronome, he hears the tempo from the music.” It is no coincidence that Bach, as a rule, did not indicate tempo at all in his compositions. Within one piece, the tempo may vary. “There is no such slow pace that there are not places that require acceleration... and vice versa. There are no corresponding terms in music to define this; these designations must be embedded in the soul” (V. Tolba).

Techniques for achieving synchronicity in ensemble sound

The synchronicity of ensemble sound should be understood as the accuracy of the coincidence in time of the strong and weak beats of each measure, the utmost precision in the performance of the smallest durations by all members of the ensemble. When considering the problem of synchronized performance, three points need to be emphasized: how to start a piece together, how to play together, and how to finish a piece together. The ensemble must have a performer who acts as a conductor; he must sometimes show introductions, releases, and slowdowns. The signal to enter is a small nod of the head, consisting of two moments: a barely noticeable upward movement (auftakt) and then a clear, rather sharp (raz) downward movement. The latter serves as a signal to join. The nod is not always done in the same way; it all depends on the nature and tempo of the piece being performed. When the piece begins behind a beat, the signal is essentially the same, with the difference that if in the first version there was a pause when raising the head, then in this case it is filled with the sound of the beat. During a rehearsal, you can calculate an empty beat, there may be the words: “Attention, get ready, let’s start,” after the word “start” there should be a natural pause (like a breath). In achieving synchronicity in ensemble sound, much depends on the nature of the music. It has been noticed that in plays of an active, strong-willed nature, this quality is achieved faster than in plays of a calm, contemplative nature. The same can be said regarding the “start”.

There is hardly any need to emphasize how important it is to complete the work together, at the same time:

a) the last chord - has a certain duration - each of the ensemble players counts out the metrical beats “to themselves” and strikes the chord exactly in time.

b) chord - above which there is a fermata, the duration of which must be determined. All this is worked out during the rehearsal process. The reference point for removal can also be a movement - a nod of the head.

If the synchronicity of the performer is a quality necessary in any ensemble, then it is even more necessary in such a variety as unison. After all, in unison the parts do not complement each other, but duplicate, although sometimes in different octaves, which does not change the essence of the matter.

Therefore, the shortcomings of the ensemble are even more noticeable. Performing in unison requires absolute unity - meter rhythm, dynamics, strokes, phrasing. From this point of view, unison is the most complex form of ensemble. Proof of absolute unity when performing in unison is the feeling that when playing together with other students, your part is not auditioned as independent. Unfortunately, little attention is paid to this form of ensemble playing in educational practice. Meanwhile, in unison, strong ensemble skills are formed, and unison is also interesting visually and stage-wise.

When a student first receives satisfaction from the work done together, feels the joy of a common impulse, mutual support, we can assume that the class activities have yielded a fundamentally important result. Even if this performance is still far from perfect, this should not confuse the teacher, everything can be corrected with further work. Another thing is valuable: the line separating the soloist and the ensemble player has been overcome, the student has felt the originality and interest of joint performance.

List of used literature

N. Rizol. Essays on working in an ensemble. – 1986. – Moscow.

A. Gottlieb. First ensemble lessons.

P. Agafonin. School of playing the six-string guitar. - Moscow. – 1983.

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