Who is an accompanist? The role of the accompanist in the musical pedagogical process The role of the accompanist in ensemble work

Introduction

My experience as an accompanist is 45 years. Over the years, I worked in the class of wind (brass, wood) instruments, in the class of folk (dombra and balalaika) instruments, in the class of string (violin, cello) instruments. I had to accompany in the percussion class (xylophone).

I consider working with vocalists to be the most responsible, because the human voice, like no other instrument, is rich and difficult to perform.

Working with a vocalist accompanist must delve into not only the musical, but also the poetic text, because the figurative content of a vocal composition is revealed not only through music, but also through the word. When learning a program piece with a student, the accompanist must monitor the singer’s accuracy of reproduction of the pitch and rhythmic pattern of the melody, clarity of diction, meaningful phrasing, and appropriate breathing placement.

To do this, the accompanist must be familiar with the basics of vocals - the features of singing breathing, correct articulation, ranges of voices, tessitura characteristic of voices, etc.

Specifics of the accompanist's playing also lies in the fact that he should not be a soloist, but one of the participants in the musical action. The accompanist has to adapt his vision of the music to the performing style of the soloist. It is even more difficult to maintain your individual appearance.

Mobility, speed and activity of reaction are also very important for the professional activity of an accompanist. He is obliged, if the soloist on stage or in an exam mixes up the musical text (which often happens in children’s performances), without ceasing to play, to catch the soloist in time and safely bring the work to the end.

An experienced accompanist can always relieve a child’s uncontrollable excitement and nervous tension before a pop performance. The best means for this is music itself. Particularly expressive playing of the accompaniment, increased tone of performance.

Creative inspiration is transmitted to the child, and helps him gain confidence, psychological, and then muscular freedom. If any musical problems occur on the stage, he must firmly remember that it is unacceptable to stop or correct his mistakes, as well as to express his annoyance at the mistakes with music or gesture.

Performing tasks of an accompanist

One of the important aspects of being an accompanist is the ability to sight read fluently. You cannot become a professional accompanist if you do not have this skill. In the educational practice of the Children's School of Music, there are often situations when the accompanist does not have time to first familiarize himself with the musical text.

In addition, the abundance of repertoire in circulation when working with students of different specialties does not create conditions for memorizing texts and they always have to be played by notes. The pianist is required to quickly navigate the musical text, be sensitive and attentive to the phrasing of the soloist, and be able to immediately grasp the character and mood of the piece.

In the process of transposing from sight, there is no time to think about the translation of each sound a tone lower or higher. Therefore, the ability of the accompanist to instantly determine the type of chord, its resolution, the interval of the melodic leap, the nature of the tonal relationship, etc., becomes of great importance.

The specifics of accompanist work in classes at the Children's Art School require accompanist mobility, a flexible attitude to the texture being performed, and the ability to use its convenient options and arrangements. Selecting accompaniment by ear is a creative process, especially if the accompanist is not familiar with the original sheet music of the accompaniment being selected.

In this case, he creates his own version of the texture, which requires independent musical and creative actions from him.

Specifics of an accompanist’s work with vocalists in the classroom and on the concert stage

When working with a singer, the accompanist must take into account that the sound of the solo part sometimes depends on the precisely found piano sonority. For example, the rough, knocking sound of the accompaniment causes the vocalist to force the sound, while the soft singing of the piano accustoms the soloist to correct sound management and protects him from “screaming.”

For a singer, the accompanist must be a full-fledged partner, sharing joy, sadness, passion, delight, peace, rage in a musical work. In general, the activity of an accompanist requires such qualities as sensitivity to a partner, psychological support before a performance and musical support directly during the performance.

Since the student may forget the words out of excitement and go out of tune. And then the accompanist helps: in a whisper he suggests the words without ceasing to play.

He plays the melody of the vocal part, repeats or prolongs his performance if the singer is late, but provides that assistance in such a way that it is not noticeable to the listeners. Therefore, during a performance, the pianist must be extremely attentive to the vocalist. A very important part of working on a vocal composition is working on breathing. The teacher places breathing in all places, depending on the text and phrasing.

The accompanist is obliged to take into account all the ticks where breathing is and always allow the singer to breathe. This is already a feature of working in an ensemble. In order for the student to breathe very easily, the pianist must know the vocal part and sing it in words together with the soloist, only to himself. By fulfilling this condition, the singer will always be comfortable. Almost any breath taken is accompanied by a slight delay in the piano part. A professional accompanist does this naturally and unnoticeably.

Part of working on a vocal composition is learning the poetic text and the ability to do this in different languages. The vocalist must be able to correctly read and pronounce text in Russian and Italian. It is useful to listen to recordings to hear the true pronunciation of a foreign language. When a vocalist knows his part and knows how to solfège, it is easier for him to assimilate poetic text. Sometimes problems arise with singing, this must be done strictly according to the text. Here the accompanist can help the student.

Knowledge of a poetic text depends on students’ good memory and ability to pronounce the text correctly. When the vocal line is well learned, ensemble tasks come to the fore. The accompanist in this duet is the conductor.

He is more literate, has a better command of form and timing. Taking into account the wishes of the soloist, the pianist leads him, allows him to breathe, organically follows the singer during decelerations and accelerations. In general, it is advisable to discuss all tempo turns and rehearse with the student before performances.

Conclusion

An accompanist is the calling of a teacher, and his work in its purpose is akin to the work of a teacher. The skill of an accompanist is deeply specific. It requires not only enormous artistry, versatile musical and performing talents, but also a thorough familiarity with various singing voices. Knowledge of the playing characteristics of other musical instruments and opera scores.

The activity of an accompanist requires the pianist to use multifaceted knowledge and skills in courses in harmony, solfeggio, polyphony, music history and analysis of musical works, vocal and choral literature, and pedagogy. For a teacher in a special class, the accompanist is the right hand and first assistant, a musical like-minded person.

For a soloist, an accompanist is both a mentor, a coach, and a teacher. Not every accompanist may have the right to such a role; it is acquired responsibility in achieving the desired artistic results when working together with soloists, in one’s own musical improvement.

Soboleva Galina Mikhailovna, piano teacher at MBU DO "Children's Music School" in Novozybkov, Bryansk region

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

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

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

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

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

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

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

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

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

Possession of skills in playing in an ensemble;

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bibliography

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

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

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

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

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

Performer and stage Classic-XXI M., 2006

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

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

Introduction

Accompanist is the most common profession among pianists. A concert master is needed literally everywhere: in the classroom for all specialties (except for pianists), and on the concert stage, and in a choir, and in the opera house, and in choreography, and in the teaching field (in the accompanist class). Music and general education schools, creative palaces, aesthetic centers, music and pedagogical schools and universities cannot do without an accompanist. However, at the same time, many musicians tend to look down on accompanism: playing “under the soloist” and according to the notes supposedly does not require great skill.

This is a deeply erroneous position. The soloist and the pianist, in an artistic sense, are members of a single, integral musical organism. The art of an accompanist requires high musical skill, artistic culture and a special calling.

The art of accompaniment is an ensemble in which the piano plays a huge, by no means an auxiliary role, far from being limited to purely service functions of harmonic and rhythmic support for the partner. It would be more correct to raise the question not about accompaniment (that is, about some kind of playing along with the soloist), but about creating a vocal or instrumental ensemble.

The purpose of the abstract is study and summarize existing scientific research, methodological recommendations and practical experience in the field of creative and pedagogical activities of an accompanist, in order to strengthen one’s own professional position as an accompanist.

Objectives of the essay – 1) describe the musical abilities, abilities and skills, as well as the psychological qualities necessary for the full-fledged professional activity of an accompanist; 2) to identify the specifics of the accompanist’s activities in the conditions of working with vocalists.

Chapter 1. Abilities, abilities and skills necessary for the professional activities of an accompanist

1.1 About the essence of accompaniment. Basic performing means

If the melody is based on the intonational statement of a person, then the accompaniment of the melody seems to be a set of internal and external circumstances complementing such a statement, very different in meaning: the accompaniment can characterize the actions and movements of the character himself, his state, the tempo and pulse of the utterance, reveal the inner world of a person, describe the external environment.

Accompaniment as part of a musical work is a complex set of expressive means, which contains the expressiveness of the harmonic support, its rhythmic pulsation, melodic formations, register, timbre, etc. At the same time, this complex organization represents a semantic unity that requires a special artistic and performance solution. It was the high and progressively developing degree of the accompaniment’s own significance that determined the possibility, feasibility and, finally, the necessity of dividing the material of a musical work between two (or more) performers - a soloist and an accompanist.

“In complex interaction with the expressiveness of register, timbre, dynamics, articulation and other means in the modern form of rhythmic-harmonic support, a synthetic unity is achieved, subordinate to and contributing to the main idea - the solo voice. By formal definition, this is “accompaniment” (accompaniment), and in meaning - to one degree or another - specific and detailed “additional circumstances”. From the tempo-rhythmic characteristics of a statement, movement, state to highly developed forms that create a pictorial background, dialogical and dramatic comparisons, accompaniment always fulfills its artistic and figurative role" [7, 24]

All types of accompaniment, including the simplest metro-rhythmic basis of a percussive nature, various dance formulas, chord pulsation, harmonic figuration, various forms of melodization of accompaniment and, finally, the development system have not only constructive significance, but always - although to varying degrees - are carriers emotional, visual, semantic content.

The study of accompaniment is, first of all, an artistic and aesthetic problem, and the methodological approach that treats this subject as a sum of practical skills is erroneous in its very methodological basis.

Analysis of musical content, which, on the one hand, represents a problem of theoretical and psychological research, on the other hand, is the first provision of practical methodology and performance.

Performance based on an understanding of the content is also its final concretization, without which the material objectively given by the composer cannot be fully revealed as a real aesthetic phenomenon.

Consideration of typical forms of accompaniment should direct the performer's attention to a number of important points:

2) the role of the step base in accompaniment, especially in dance forms;

3) the process of the emergence of melos in the movement of harmonic support.

These general tasks should be supplemented by consideration of the basic means of expression, which most clearly illustrate the principle of concretizing musical content in performance, namely: articulation, agogics and dynamics.

If in instrumental music one or another shade and its measure are determined by knowledge of style and genre, a sense of general musical patterns, individual associations, temperament and taste of the performer, then in vocal music performance is also subject to more objective and precise criteria of logic. The moment of understanding the image, the method of its embodiment by the poet and composer, the role of one or another performing means, the features of the technology of “vocal speech” becomes a necessary support for the artistry of accompaniment and ensemble contact.

In vocal music, the spoken text is a reliable argument. What in instrumental music can be left to the arbitrariness of taste, in vocal accompaniment takes on a convincing artistic motivation. The specificity of the image suggests a more precise measure of the stroke.

Perhaps the most common stumbling block in accompaniment is the agogics of vocal performance. To an inexperienced ensemble player, the singer’s agogic digressions seem arbitrary, unexpected, and sometimes even “illegal.” Many vocalists are not blameless in this regard. However, violations of the measure do not refute the principle itself. It must be clearly understood that vocal performance does not “encroach” on the basics of musical rhythm - the living rhythmic fabric of music is saturated with vocality and songfulness. The clearer this is to the pianist, the more meaningful his solo instrumental “speech” will be.

In formal terms, agogy is an acceleration or deceleration of movement that does not lead to a change in the average tempo. When applied to phrases, sentences and larger constructions, the agogic terms (accelerando, ritardando, etc.) are quite clear. The smallest agogic deviations, which contribute to the naturalness and expressiveness of musical speech pronunciation, are little accessible to precise designations and regulation - they mainly manifest the individual feeling, taste, and emotionality of the performer. Experienced ensemble masters perceive the soloist's rhythmic digressions primarily with a subtle sense of his artistic intentions. Such sensitivity is, of course, the most important ability of an ensemble player.

In vocal music, the agogy of intonation appears most clearly. It is especially clearly manifested in the expressiveness of the interval jump. The progression of a melody over a long interval always indicates a significant emotional shift.

The accompanist should not perceive the soloist’s agogic retreats as a surprise, an accident, an arbitrariness: he must understand their logic and emotional and semantic justification, perceive and assimilate the artistic image and all the subtle shades of the character’s musical speech. This is precisely the main prerequisite for ensemble synchronicity.

Dynamics is one of the most effective means of individual interpretation. Depending on the specific artistic function, the entire range of sound strength can be used in accompaniment, from extreme pianissimo to extreme forte. The dynamics curve, as well as the sonority level, is subordinate to the solo voice and is determined by the content. The smallest dynamic rises and falls (microdynamics) serve the intonation sound pairing, as well as the naturalness and expressiveness of words and phrases, and in many cases act in conjunction with agogics.

In vocal music, the plot and character in many cases also suggest the dynamics of the accompaniment. However, one should always take into account the measure of strength when accompanying, for example, a lyric soprano or dramatic tenor and adjust the entire dynamic plan accordingly. Of course, we must also take into account the individual data of the performer. The tessitura (register) of the voice is also the most important regulator of dynamics.

The richer the accompaniment, the brighter its image. This is one of the main problems of the artistic transformation of the accompanist-artist. The psychological attunement of friendliness, empathy, close and reverent attention to all the vicissitudes of events, feelings, shades of speech of the character embodied by the soloist - right up to complete merging with him - creates a truly high quality ensemble. The so-called “accompanist instinct” is not the artisanal ability to follow the soloist synchronously and dynamically, but the ability to feel the intentions and intentions of the soloist and, with voluntary obedience and careful initiative, combine the interpretation of his part with them.

1.2 Specifics of the accompanist’s work

The terms “accompanist” and “accompanist” are not identical, although in practice and in literature they are often used as synonyms. The activity of an accompanist usually implies only concert work, while the concept of “accompanist” includes something more: learning with the singer his opera part, romance repertoire, knowledge of vocal difficulties and the reasons for their occurrence, the ability not only to control the singer, but also to suggest the right path to correction of certain shortcomings, etc. Thus, the activities of an accompanist combine pedagogical, psychological, and creative functions. The creative state of the soloist almost always depends on the skill and inspiration of the accompanist.

The functions of an accompanist working with soloists are largely pedagogical in nature, since they consist mainly in learning new repertoire with soloists. This pedagogical side of accompanist work requires from the pianist, in addition to accompanist experience, a number of specific skills and knowledge from the field of related performing arts, as well as pedagogical flair and tact.

Experience shows that the main distinguishing feature of accompanist activity is the need to develop skills and abilities to listen not only to oneself, but also to the soloist. It is in the double concentration and activity of the pianist’s auditory attention that the main feature of the accompanist’s activity is hidden. During the process of accompaniment, the pianist's auditory attention goes through a number of characteristic stages of development and formation. Namely: the first stage is directly related to listening and understanding one’s own part, which the pianist needs to firmly learn and perform freely and confidently; the second stage is determined by the perception of the soloist’s part, which the pianist also carefully learns, singing along to himself during performance; the third stage is the most difficult, in which auditory adaptation occurs, the gradual merging of both parts into an ensemble and, finally, the fourth stage is the final, culminating one, when in the auditory consciousness of the pianist both parts (accompanying and solo) are combined into a single sound stream, in which two parts are not perceived, but a single ensemble is heard.

All of the listed stages are very significant and interconnected, since a violation of their sequence or insufficient work on one or another stage can cause the absence of a performing ensemble and unsuccessful performance. And, on the contrary, the achievement of such a performing ensemble is a clear indication of the pianist’s accompanist skill. Often the accompaniment part is considered as a supporting performance, as subordinate to the solo instrument. Such a statement is not correct and not always justified, since, firstly, the accompanying part, even if it is a harmonic background for the leading voice, in any case, the overall success of the performance depends on the quality of its sound, and secondly, in many works Composers equate the piano part with the solo part in its role and significance.

Learning to accompany well is no less difficult than learning to play the piano well. A bad pianist will never be able to become a good accompanist; however, not every good pianist will achieve great results in accompaniment until he masters the laws of ensemble relationships, until he develops sensitivity to his partner and feels the continuity and interaction between the soloist’s part and the accompaniment part. I recall the words of one of the greatest teachers, Maria Nikolaevna Barinova, a professor at the Leningrad Conservatory: “An accompanist who influences the success of a soloist must be no less talented than the soloist. The activity of an accompanist is not at all less worthy than the activity of a pop pianist. The pianist’s talent, if there is one, will be expressed clearly in the accompanist, but if there is no talent, then the pianist’s stage will not save the pianist.” The ability to merge with the intentions of your soloist and naturally, organically enter into the concept of the work is the main condition for playing music together.

A modern pianist who has devoted himself to such activity is at the same time a leader, a follower, a teacher-mentor, and an obedient executor of the will of his soloist, and in general, his friend and colleague. In order for the accompanist to be a convenient partner, in order for him to be a true assistant to the soloist, he must master the art of quickly navigating the musical text. This is one of the circumstances that make the functions of an accompanist and conductor similar. The accompanist needs musicianship, a vision of the entire work: form, score, consisting of three lines; This is what distinguishes an accompanist from a solo pianist. This is the specificity of his profession.

To support this thought, I consider it appropriate to cite the words of the remarkable singer-musician, one of the founders of vocal chamber performance, Anatoly Leonidovich Dolivo: “... the singer and the pianist accompanying him should be friends in art. No one except the soloist can properly appreciate this musical community. If the singer, on the inspiration of the inspiration that has flown to him, changes his interpretation of the song right there on the stage, a sensitive friend will instantly figure out his intention, the new “angle of refraction” of the song. Such a pianist already senses within a few bars, with the power of the artist’s intuition, the slightest changes that will occur in the movement of the song, and follows them. The stronger the pianist’s individuality, the better and more profitable it is for the singer, because the knowledge that his reliable, sensitive friend is with him gives him strength.”

1.3 Qualities and skills required to work as an accompanist

First of all, the accompanist must be good at the piano, both technically and musically. The accompanist field of music-making presupposes mastery of both the entire arsenal of pianistic skills and many additional skills, such as: the ability to organize a score, “build a vertical line,” reveal the individual beauty of the solo voice, provide a living pulsation of the musical fabric, provide a conductor’s grid, etc. A good accompanist must have general musical talent, a good ear for music, imagination, the ability to capture the figurative essence and form of a work, artistry, and the ability to figuratively and inspiredly embody the author’s plan in a concert performance. The accompanist must learn to quickly master a musical text, comprehensively covering a three-line and multi-line score and immediately distinguishing what is essential from what is less important.

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

Will and self-control are qualities also necessary for an accompanist. If any musical problems occur on the stage, he must firmly remember that it is unacceptable to stop or correct his mistakes, as well as to express his annoyance at the mistake with facial expressions or gestures.

One of the important aspects of being an accompanist is the ability to sight read fluently. At the same time, at least a preliminary viewing of the work as a whole is mandatory even with the most minimal requirements for meaningful performance. Yes, in fact, in practice, in professional settings, this is always the case. Going on stage with the accompaniment of even an unseen piece should be considered a completely abnormal phenomenon, because this is the closest route to hackwork.

The repertoire performed by the accompanist is not always technically accessible to him, or at least the pianist does not always have enough time to master the technical side of performance to perfection. In such cases, expedient simplifications should be preferred to violation of the main content of the work. This need can especially often arise when playing an opera clavier. Often such changes are useful not only to simplify the texture, but also to achieve better sonority.

The specifics of the work of an accompanist presuppose the desirability, and in some cases the necessity, of possessing such skills as selecting accompaniment to a melody by ear, elementary improvisation of an introduction, acting out, conclusion, varying the piano texture of the accompaniment when repeating verses, etc. The specific textural design of the selected and improvised accompaniment should reflect two main indicators of the content of the melody - its genre and character.

Sight reading is an organic component of the overall musical performing potential, and without this skill not a single pianist (and not only a pianist) can become a major musician-artist.

In order to understand the artistic essence of a work, you need to be able to quickly master the musical text, covering it comprehensively. Learning to visually grasp a musical text, the ability to immediately understand how a work is constructed, what its structure is, the artistic idea and, accordingly, its tempo, character, direction of figurative development, timbre-dynamic solution - the goal of this skill.

Chapter 2. Features of the work of an accompanist with vocalists

2.1 Performing tasks of the accompanist

The creative activity of the accompanist is especially clearly manifested in performance. Therefore, it is important that the accompanist constantly improves his performing skills: he improvises and sight-reads more, develops the skills of selecting by ear and transposing.

Professional performing qualities are formed on the basis of a combination of purely pianistic skills, musical theoretical knowledge, and the ability to comprehend the meaning of music and translate it into a specific sound. An important condition for professionalism is also the presence of a performing culture in the accompanist, which presupposes a reflection of his aesthetic taste, breadth of outlook, a conscious attitude to the art of music, and readiness for musical educational work.

The performing activities of the accompanist are very diverse. There are many different forms of performing practice: performances in concerts, participation in competitions, accompanist work in teaching practice, accompanying students, etc. All this gives the right to talk about the breadth of the range of professional tasks facing the pianist-accompanist.

The performing process in the art of accompanism consists of two main parts: the formation of a performing concept and its implementation.

The process of developing a performance concept begins with familiarization with the composer's musical text and its accurate reproduction on the piano. After getting acquainted with the author's text, one becomes aware of the figurative structure of the musical composition, its artistic idea. The main performing task of the accompanist at this stage is to create an artistic image of the work.

Then follows a new stage in the performer’s creative work - the aesthetic assessment of a musical work. During this period, the accompanist develops his own attitude towards the composition in question. Aesthetic evaluation is a kind of emotional and figurative reflection of what is heard. Musical perception is of great importance, through which an emotional reaction to the sound of music occurs. It is the aesthetic assessment of a musical composition that will help the accompanist advance to the next task - creating a performing interpretation.

Creating a performing concept is a vision of a musical work by designing one’s individualized image within the framework of an authentic image, by creatively recreating one’s own performing thought in the field of the composer’s thought.

It is safe to say that an accompanist is an interpreter of a musical composition. Comprehending the composer's intention, the accompanist tries to convey his idea of the ideological and artistic content of the musical composition to the soloist and at the same time helps his partner to accurately convey his plans to the audience.

The second part of the performing process is the embodiment of the creative concept. The accompanist faces challenges related to correctly and accurately conveying the composer's idea to the audience and the ability to subjugate the audience to his influence. It is now that the accompanist needs emotional uplift, creative will and artistry.

The main feature of the professional skill of an accompanist is the ability to influence the audience by conveying the internal content of an artistic image using the method of stage transformation. This is precisely where his artistry lies. Performing activity is one of the most important means for an accompanist to improve his skills.

2.2 Specifics of the accompanist’s work with vocalists in the classroom and on the concert stage

The creative activity of an accompanist includes two components: the work process and concert performance.

The work process is divided into 4 stages:

1) – work on the work as a whole: creating a complete musical image as imaginary sketches of what is to be performed. The task of this stage is to create musical and auditory representations during visual reading of the musical text of the work. The professionalism of an accompanist largely depends on his abilities, including the skills of visually reading the score, as well as the ability to visually determine its features (inner hearing). Musicality acts as a complex integral system, which includes: musical ear, musical memory, emotional and volitional qualities of the performer, musical thinking and imagination, sense of rhythm, etc.

2) – individual work on the accompaniment part, including: learning the piano part, working out difficulties, using various pianistic techniques, correct execution of melismas, expressiveness of dynamics, etc.

3) – working with a soloist – requires impeccable command of the piano part, combination of musical and performing actions, and knowledge of the partner’s part. Constant attention and utmost concentration at this stage must be maintained equally.

4) – working (rehearsal) performance of the entire work: creation of a musical performing image.

First of all, the accompanist must realize that he is an intermediary between the teacher-vocalist and the singer and has no right to interfere in purely vocal, so to speak, “narrowly technological” issues. A long period of stay in a vocal class develops the accompanist's so-called vocal ear. This is the ability to analyze what constitutes evenness of sound production (especially when changing registers), and to remind the singer of the teacher’s vocal settings. The accompanist's hearing must record various parameters of the vocal part: the manner of sound delivery, that is, the proximity of the vocal position, moments of pitch - in one case; attention to rhythm, poetic text, articulation and diction of the vocalist - in another case.

Conducting a class lesson, the accompanist not only prepares the singer for a future performance, but also carefully works on his part, because at the time of performing on the stage (or exam) he is the creative partner of the soloist. During the preparation of a work, the singer and pianist jointly go through a number of stages: repeated repetition of the whole and details, stopping in the most difficult episodes, testing different tempos, analyzing the nature of the work, coordinating dynamics.

Even more difficult tasks arise for the accompanist’s ears when he has to work on learning a vocal ensemble. A good knowledge of the parts of each voice and the creation of a clear auditory representation of the overall sound of all voices require the pianist to carefully train and strengthen internal auditory ideas.

When working with a singer, the accompanist is responsible not only for establishing the ensemble, but also for helping the singer learn his part, achieve accurate intonation, correctly form a phrase, and convey the words of the text in the most expressive way through the composer’s intonations.

When creating a performance form while studying a piece of music together with a singer, the accompanist, along with the vocalist, must penetrate into the dramaturgy of the poetic text, find its singing expression, and for this he should listen to talented singers as often as possible.

The main artistic goal of accompaniment is to achieve a common ensemble. A good ensemble is determined by the unity of artistic intentions of both partners - the soloist and the pianist - and at the same time each of them understands their functions in embodying the content of the work.

There is one more area in the accompanist's performance that requires attention. It's about the melodic movement of the bass voice. Due to its low register position, it is usually hidden from conscious perception (and often also from the performer). At the same time, the quality of the sonority of the bass voice, the clarity of its melodic movement determines the character and quality of the overall sound.

The creative participation of the accompanist is especially clearly manifested in places in which the piano part performs independently - mainly in the introductions and conclusions of the work, as well as in connecting parts within the work. Here the accompanist, along with the soloist, participates in the development of the musical content of the work.

A concert performance is the result and culmination of all the work done by the pianist and vocalist on a piece of music. His main goal is, together with the soloist, to reveal the musical and artistic intent of the work with the highest culture of performance of the work. An important factor in successful concert activity is the ability to create contact with the audience. This is greatly facilitated by the professional qualities of the accompanist. With a positive reaction from the public, the accompanist will be able to freely realize his artistic plans, and this in turn will enable the vocalist to achieve the desired goal. During concert performances, the accompanist takes on the role of presenter and, following the developed concept, helps the partner, instills confidence in him, trying not to suppress the soloist, but to preserve his individuality.

For a singer, the accompanist should be an equal partner, sharing joy, sadness, passion, delight, peace, rage in a musical work. The pianist should be a source of inspiration for the singer, and his playing should sparkle in beautiful introductions and conclusions.

In general, the activity of an accompanist presupposes the presence of such qualities as sensitivity to a partner, psychological support before the performance and musical support directly during the performance, since the singer, out of excitement, can forget the words and go out of tune. And then the accompanist provides assistance: he suggests words in a whisper, without ceasing to play; plays the melody of the vocal part, repeats or stretches out his introduction if the singer is late, but provides this assistance in such a way that it is unnoticed by the listeners. Therefore, during a performance, the pianist must be extremely attentive to the vocalist.

Shenderovich E.M. in the book “In the Accompanist Class” he states that the accompanist’s eyes should be focused on the musical text during performance. I beg to differ with this - the pianist’s eyes should not be constantly focused on the notes. This is not entirely correct; the singer must also be in the accompanist’s field of vision, since eye contact is needed with him. In this case, the accompanist understands and feels the singer even better, and the singer, in turn, feels the pianist’s support, including moral support, even better. An accompanist can accompany well only when all his attention is focused on the soloist, when he repeats “to himself” with him every sound, every word, and even better, he anticipates in advance, anticipates what and how his partner will perform.

Conclusion

An accompanist is the calling of a teacher, and his work in its purpose is akin to the work of a teacher. The skill of an accompanist is deeply specific. It requires not only enormous artistry and versatile musical and performing talents, but also a thorough acquaintance with various singing voices, knowledge of the playing characteristics of other musical instruments, and opera scores.

The activity of an accompanist requires the pianist to use multifaceted knowledge and skills in courses in harmony, solfeggio, polyphony, history of music, analysis of musical works, vocal and choral literature, pedagogy - in their interrelations. For a teacher in a special class, the accompanist is the right hand and first assistant, a musical like-minded person. For a soloist, the accompanist is the confidante of his creative affairs; he is an assistant, a friend, a mentor, a coach, and a teacher. Not every accompanist can have the right to such a role - it is won by the authority of solid knowledge, constant creative composure, will, uncompromising artistic demands, unwavering perseverance, responsibility in achieving the desired artistic results when working together with soloists, in one’s own musical improvement.

Literature

1. Barinova M.N. Essays on piano technique. L., 1926

2. Vinogradov K. On the specifics of the creative relationship between a pianist-accompanist and a singer // Musical performance and modernity. Issue 1 M.: Muzyka, 1988

3. Dolivo A.L. Singer and song. M.; L., 1948

4. Kubantseva E.I. Accompanist - musical and creative activity Music at school - 2001 - No. 4

5. Kubantseva E.I. Concertmaster class. M., 2002

6. Kryuchkov N. The art of accompaniment as a subject of training. L., 1961

7. Lyublinsky A.A. Theory and practice of accompaniment: Methodological foundations. L.: Music, 1972

8. Moore Gerald Singer and accompanist. M., 1987

9. Shenderovich E.M. On the art of accompaniment // S.M. 1969, no. 4

10. Shenderovich E.M. In the accompanist class: Reflections of a teacher M., Music, 1996

Introduction

Chapter 1. Abilities, abilities and skills necessary for the professional activities of an accompanist

1.1 About the essence of accompaniment. Basic performing means

Consideration of typical forms of accompaniment should direct the performer's attention to a number of important points:

2) the role of the step base in accompaniment, especially in dance forms;

3) the process of the emergence of melos in the movement of harmonic support.

“Accommodating is a vocation or a place of work

Plan

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

2. Philosophical and aesthetic aspect of accompanist creativity.

3. Accompanist in the system of moral education.

4. Performing activities of the accompanist:

Performing tasks of the accompanist;

Reading music text from a sheet;

Specifics of performing accompaniment in vocal and instrumental works.

5. You are water.

6. Literature used.

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

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

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

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

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

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

Philosophical and aesthetic aspect of accompanist creativity.

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

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

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

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

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

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

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

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

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

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

Performing activities of an accompanist

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

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

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

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

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

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

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

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

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

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

extremely attentive and at the same time maintaining performing individuality.

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

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

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

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

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

There are rules that must be followed:

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

Constant attention required when speaking;

A feeling of confidence in sufficient preparation for the concert;

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

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

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

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

Facilitating or moving chords;

Converting expanded harmonic functions into fundamental harmonic functions;

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

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

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

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

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

Summarizing all of the above, we can do conclusion.

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

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

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

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

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

Literature

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

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

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

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

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

7. Shenderovich E. In the accompanist class.