Technical training of an accordionist in a music school.docx - Modern technologies in teaching accordionists and accordionists (about playing to a phonogram). The attention of the performer is directed to overcoming technical difficulties, as a result of which the

Municipal autonomous educational institution

1.1 Accordion player's performing apparatus.

Work with students begins with important points for any musician: the correct fit, hand placement, instrument position. Unlike violinists, vocalists, who spend many years on setting up their hands and vocal apparatus, accordionists deal with this issue very little. But the correct setting of the gaming machine at the initial stage of training is very important, the possibility of expressing artistic ideas in the performance depends on it.

Of course, the most active in the process of playing the button accordion is the shoulder girdle, which consists of the shoulder, forearm, wrist and fingers, but other parts of the performing apparatus should not be ignored. I thought that: “The playing apparatus of a musician-performer is often understood as fingers, hand, forearm, which are directly involved in sound extraction. However, they cannot be considered in isolation. It seems that we should talk about the motor reactions of the whole human body. .

His statement is based on the achievements of teachers and performers in the field of rationalization of performing movements, as well as the introduction of new colorful elements in the performing art of accordionists.

It is impossible to consider only the arms and shoulder girdle as a performing apparatus. A characteristic feature of playing the button accordion is that in order to extract sound, it is necessary not only to press the keys, but also to lead the bellows. Since it is the conduct of the fur that largely determines the quality of the sound produced on the button accordion, one should more carefully consider the work of the back muscles. We can confidently assert that the back, as well as the shoulder girdle, is an important part of the accordion player's performing apparatus.

Another feature of the button accordion is that the instrument is on the knees of the performer during the game. Ways to hold the button accordion are commonly called the landing of the button accordion player. As well as mechanical science, changes in fit affect the characteristics of the sound produced from the button accordion. Analyzing the modern repertoire of accordion composers such as: Vecheslav Semyonov, Vladimir Zubitsky, Alexander Mordukhovich, Alexander Letunov, we can say with confidence that even the knees and feet are involved in the playing process. This, no doubt, significantly expands the concept of the bayan player's performing apparatus. We cannot exclude the performer's hip and legs from consideration. All of the above allows us to assert that the entire human musculoskeletal system.

However, the scientific approach does not allow us to consider only the musculoskeletal structure of a person as a performing apparatus. With any movement, performing activity is no exception, the human motor system is controlled, regulated and coordinated by the central nervous system.

In view of the foregoing, under the performing apparatus of the accordionist, one should consider the entire musculoskeletal system of a person, regulated and coordinated by the nervous system.

The staging of the performing apparatus of the bayanist, accordionist is mainly due to the nature of the music being performed, the design features of the instrument, as well as the psychological and anatomical and physiological characteristics of the performer himself. Statement questions include three components: landing, installation of the instrument, position of the hands.

In our work, we will consider only one of the components of the bayan player's performing apparatus - LANDING.

1.2. Analysis of the landing formation approach

in the bayanist's methodical literature.

At the initial stage of teaching an accordion player, the teacher often faces such a problem as the correct formation of the student's seat. More often in such a situation, they turn to various “Schools” and “Tutorials” for help.

We, in turn, will try to consider approaches to the formation of landing in the most frequently used literature. As such literature, we will use: four "self-instruction manuals for playing the accordion" (authors: O. Agafonov, V. Alekhin, R. Bazhilin, A. Basurmanov), four "schools for playing the accordion" (authors: Yu. Akimov, P . Govorushko, A. Onegin, V. Semyonov), as well as the book by A. Ivanov "The initial course of playing the button accordion" and the manual "The system of initial training in playing the button accordion", author N. Yakimets.

O. Agafonov, practically does not allocate space to such a topic as “landing”, literally three sentences are said:

“Before you start playing, you need to adjust the shoulder straps so that the instrument is not pressed against the body and stands firmly on the player's knees. The right leg creates an emphasis when squeezing the fur. This is necessary to ensure freedom of movement of the right hand.

The book also contains an image (Fig. 1):

https://pandia.ru/text/79/152/images/image002_109.gif" align="left" width="228 height=324" height="324"> Points 5 and 6 are interesting in this description. "Right the belt is put on the shoulder. The left strap serves as a support for the left hand ... ". It turns out that only one shoulder strap is used. This is what you see in point 6. "... Three points of support: Right and left leg and SHOULDER, on which the BELT is put on.". This text is confirmed by Figure 2, taken from the above tutorial. Indeed, in the “old” bayan school, one shoulder strap was used, but please note that the collection was released in 1977, and at that time everyone was already playing with two shoulder straps. It can be concluded that the author rather took the topic of planting from old-style tutorials, which means that this issue is not particularly important for the author.

Roman Bazhilin in his "Tutorial for playing the button accordion (accordion)" describes in great detail the fit and installation of the instrument:

“A comfortable fit for the game, first of all, must be stable. For classes, you need to choose a comfortable chair. The seat of the chair should be slightly above the level of the student's knees. You should sit deep enough, about half the seat. The legs, standing on a full foot, are slightly apart and slightly pushed forward. The weight of the torso, together with the weight of the instrument, should fall on three points of support - on the seat of the chair and the soles of the feet.

Attention should be paid to "comfortable chair", which one is not specified, and also that "you should sit deep enough".

If you sit too deeply in a chair, then you lose support on your feet.

This description does not specify how the tool should stand with such a fit. It can be concluded that landing is again not given due attention in this manual.

The last proposed tutorial by A. Basurmanov. Landing is described as follows:

“The button accordion should be played while sitting on a chair with a slight forward inclination and shallow. During the game, the button accordion fur should be on the left leg, and the lower part of the right side of the button accordion body should rest against the right leg. The legs should rest on the entire foot. The left leg should be pushed forward a little.

In this definition, only the stiffness of the chair is not indicated, but everything else is described in detail, in addition, the author further talks about the correct position of the belts, about the correct mechanical science, and other things that directly depend on the landing at the tool. All of the above is of course illustrated (Fig. 3). But the drawing is a little contradictory to the description of the landing, because on it the accordionist sits very deeply on the chair, which again does not support the feet.

Let us consider specifically, the “schools” of playing the instrument. Yu. Akimov says the following about the landing:

“When working on the landing, it is necessary to take into account the physical data of the student. The adopted posture should give stability to the body and not restrict the movement of the hands, determine the composure of the performer and create an emotional mood before the game. In the initial period of training, such an initial fit can be considered correct, which is convenient and provides freedom of action for the performer, stability of the instrument. The accordion player plays sitting on a chair with a hard or semi-hard seat, which should be approximately at the level of his knees. Children of small stature should be placed on benches, or seated on a chair with shortened legs.

The author's opinion about landing in the initial period of training is not quite correctly stated. In any case, a child who takes an instrument for the first time in his life will feel uncomfortable sitting at it, the human body is not specially adapted for the button accordion. The correct fit must be taught from the very beginning.

“You need to sit on half the seat, without touching the back of the chair. The legs are slightly apart and stand on the floor (or bench), resting on a full foot. The performer's body should be slightly tilted forward, towards the instrument, in order to maintain constant contact between the student's body and the button accordion. A tool with collected (compressed) fur is placed on the hips. The lower part of the neck is on the right foot.

Again it is said that "half a chair" this again can lead to incomplete support on the feet..gif" align="left hspace=12" width="193" height="324"> To ensure the stability of the instrument during the game, shoulder (long) straps are used, which are worn on the upper part of the shoulders.

It is explained why the legs should stand in this way, for which the instrument should be slightly inclined. And even an example is given in which cases landing helps in the matter of fingering. An image of a landing from this "School" in Figure 5.

I think that when applying the material from this "School", the student must be explained why it is necessary to sit in this way, only then he will understand and appreciate the great benefits of a proper fit.

In A. Onegin's “School of Playing the Bayan”, a huge chapter is devoted to sitting, and as in the previous “School”, some points are explained in detail, that is, not only how, but also why you need to sit in this way:

“From the very first lessons, you need to learn the correct, natural fit. You need to sit on a chair not very deep, closer to the edge with a slight forward tilt. Feet should be firmly on the floor. Small students need to put a bench (stand) under their feet or give a chair of the appropriate height so that the support of the legs gives stability to the body.

The knees should not be held too wide and care should be taken that the left leg does not participate in the dribbling of the fur. The student should sit freely and comfortably, but not loosely, but collected.

Keep your head straight and don't look at the keyboard while playing.

Undoubtedly, the landing in this school is described flawlessly, but in the further narration of the author, we again see one shoulder strap (Fig. 6). A. Onegin says about it this way: “…two straps create a more stable position for the tool. But along with this, attaching the instrument to the chest with two straps brings it too close, and causes stiffness of the player, restricts the freedom of movement of his hands and limits the mobility of the instrument in his hands. Therefore, music school students are not recommended to use two shoulder straps. This is acceptable only for mature performers.

Children are very active by nature, and if something fetters them, they will certainly change their position, but the button accordion is not an easy instrument, and if it is held only on its knees, then the instrument may fall if the child moves inaccurately. On this issue, one can disagree with the author.

One of the youngest "Schools" is the "School" of V. Semyonov. It describes in great detail not only the correct fit, but also the author supports changing the fit during the game, for a more comfortable position of the hands, hands or fingers. The author writes like this:

“First, the teacher places the button accordion on the student’s left thigh in such a way as to create conditions for free, natural movements of the right hand and adjusts the length of the right shoulder strap, then the left one, which should be shorter than the right one. This creates stability for the top of the instrument while playing.”

This definition describes the basis for the correct position of the tool, according to V. Semenov. And here's how he describes the change in fit:

“During playing, some elements of the seat can change, for example: tilting the instrument towards you makes it more convenient to use the first finger, and also allows you to more rationally use the weight of your right hand when playing chords. The level position of the instrument is ideal for performing complex bellows trembling techniques. Some forward tilt is convenient for the traditional three-finger movement on the selective keyboard.

Of course, this is useful and necessary information for an accordion teacher, but at the initial stage of training, you should not confuse the student. As the program becomes more complex and it becomes possible to use these methods, they will be very appropriate. It is very important when using this "School" to remember that it was written for a five-row button accordion (Fig. 7).

Consider two more manuals, also designed for initial learning to play the button accordion. In A. Ivanov's “Initial course of playing the button accordion”, the issue of seating is described in great detail. Here is the basic definition:

“You should not sit on the whole chair, but deep enough so that the body is stable and the position is comfortable enough. The body leans slightly forward. You should not lean back in your chair, as well as sit too straight; sitting upright expends more energy and therefore gets tired sooner. Shoulders should be down. Raising the shoulders creates unnecessary tension. Hands should not be pressed to the body, otherwise freedom of movement is impossible. The height of the seat should not interfere with the stability of the body and the comfort of the overall fit. Feet should be placed naturally, with proper support.

The phrase is a bit confusing: "... you should not sit too straight: sitting straight, expends more energy and therefore gets tired sooner." Thus, the position of the back in the matter of landing behind the instrument in A. Ivanov remains a mystery. What does the author say about the legs:

“Knees should not be raised high; The height of the knees should be approximately at the level of the seat. The legs should not be kept pressed against one another or spread apart to help move the fur. During the game, the legs must remain motionless.

Again, there is no precision and concretization that we met in some tutorials and "Schools".

This manual again suggests the button accordion with one shoulder strap, and only children can sometimes use the second one:

"... it will also be advisable to use a second belt for children - on the left shoulder."

This statement absolutely contradicts A. Onegin's "School".

The author writes about the presence of a bench or a footrest as follows:

“... No footstools should be used, no matter how short the legs are; It is better to find a chair of the appropriate height.

This statement does not agree with many tutorials and "Schools".

There is also an interesting note in this manual:

"The performer should sit with some turn (oblique) towards the listener, as if for the purpose of better showing the right keyboard."

Thus, in A. Ivanov's book there are many controversial issues that do not meet modern requirements.

The last book that I propose to consider is "The System of Initial Learning to Play the Bayan", author N. Yakimets.

"... the development of the right keyboard is associated with the development of its speculative representation ... and for this you need to install an accordion with a certain inclination of the upper part of the body to the chest ...".

In this book, this is perhaps the biggest difference from previous manuals.

Drawing conclusions, one can once again be convinced that landing is a question that cannot be answered unambiguously. The fit depends on the instrument, on the chair, on the age of the student, etc., and even can change during the game. Not every accordion player pays due attention to the landing, which does not always develop successfully for his further professional activity.

As a result of the above analysis, I propose a table of the main landing elements and their reflection by different authors.

2. Landing, as an important element of the accordion player's playing apparatus.

Based on the material of the previous chapter, the descriptive approach inherent in the methodological literature does not correspond to the increase in the effectiveness of classes with beginner accordion players. The considered approach should be supplemented with requirements for the landing result and criteria for evaluating its various elements.

2.1. Basic requirements for the formation of landing.

Undoubtedly, landing behind the tool must be stable, for this you need to choose a chair that meets the following requirements:

1. The chair should be stable, strong.

2. The seat should be semi-rigid, since a soft seat does not give a sense of stability, and a hard seat tires the player during many hours of exercise.

3. The height of the chair is selected in accordance with the physical data of the player. The seat of the chair should be slightly above the level of the student's knees. (You can use the footrest.)

You should sit at about half the seat. The legs, standing on a full foot, are slightly apart and slightly pushed forward. The weight of the torso, together with the weight of the instrument, should fall on three points of support: on the seat of the chair and the feet. However, if you almost completely feel your weight on the chair, then you can find a heavy, "lazy" landing. It is necessary to feel another point of support - in the lower back. In this case, the body should be straightened, the chest should be moved forward. It is the feeling of support in the lower back that gives lightness and freedom of movement of the arms and torso.

Planting an accordionist is a dynamic concept. The accordionist will learn how to sit at the instrument and hold it correctly in the first lessons. However, over time, students begin to experience discomfort when playing the instrument, stiffness, stiffness of movement and an awkward fit appear.

The main reason for this situation is the landing elements formed at the initial stage of training, which do not correspond to the increased artistic and technical tasks of the musician.

In connection with the physical and professional development of the student, the technical and artistic tasks assigned to the emerging performer become more complicated. All this requires a partial change in landing.

One of the features of modern accordion performance is the growing role of the musician's acting skills. For a more vivid disclosure of the idea of ​​a work, accordionists are increasingly resorting to various theatrical techniques: gestures, facial expressions, dance elements, etc. In such a situation, seating is one of the elements of revealing the artistic image. There is no ideal landing option for all occasions.

Landing is divided into 3 types:

1. Initial landing (basic)

2. Landing during the game

3. Landing, as an element of the disclosure of the artistic image

The initial landing precedes the start of the execution. One of the design features of the button accordion is a very small area of ​​the keys and a small distance between them, so the performer is required to have greater coordination of playing movements. Weak fixation, instability of the instrument during the game, leads to an abundance of technical errors.

For a confident “clean” performance, a kind of landmark is needed. It is used as a basic landing. The basic fit is used when learning and performing the most technically difficult sections of the piece.

Landing should be active, and the main criterion for its expediency is the stability of the instrument with maximum freedom of the performing apparatus.

During the performance of works, the landing may change, but all changes must be conscious and aimed at solving a specific problem. For example, to make it convenient to turn on the chin registers when playing on the squeeze, it is enough to lift the neck with the right hip and bring the desired register to the chin. If there is a need to play on wide fur, then the left semi-body can slide on the thigh, for this the leg is retracted to the left in advance, and the knee leans towards the floor. In this case, forces are not wasted on holding the weight of the left half-body and the performer gets the opportunity to perform fur techniques more efficiently. But it must be remembered that such a landing looks unaesthetic and is extremely rarely suitable for use.

Sometimes, for a more complete disclosure of the image, one has to resort to theatrical gestures, elements of dance or pantomime. In this case, landing becomes a means of artistic expression and can impede game movements. Such changes in fit must be carefully considered and practiced so that their application does not destroy the meter-rhythmic and dynamic structure of the work.

2.2. The influence of landing on the formation of performing

bayanist's apparatus.

The initial stage of learning to play is the most important and crucial period in the upbringing of the performer, here the foundation of knowledge and skills is laid, on which their further development depends, the entire creative path of the performer. The starting point of this path is the development of staging skills. The miscalculations and mistakes made here can subsequently limit the technical capabilities of the performer, lead to unjustified difficulties in work and even to a violation of physical health. The setting of the gaming machine is, first of all, natural and expedient hand movements, appropriate fit and contact with the instrument. From the first moments of training, the teacher must clearly and intelligibly explain and show what is the basis of the basics of the game: the position of the body (landing), the position of the hands, the position of the fingers, the fingering system, the techniques of sound extraction, the technique of bellows, the position of the instrument.

It must be taken into account that the “correct” setting is not a “dead”, static picture of the position of the instrument, body, hands, but a dynamic process, which is influenced by many objective and subjective factors. The individual physiological characteristics of the student, the design features of the instrument and, finally, the main factor is the music itself. Speaking about the development of staging skills, it is necessary to point out the shortcomings and mistakes encountered at this stage of training. It is important to notice and eliminate them in time.

Consider the most common mistakes in the landing of bayanists.

The student puts forward the foot of the right leg instead of the left one (Fig. 8). This deprives the right body box of a point of support when the fur is compressed, the correct position of the body is violated, the spine is bent, the right hand is clamped, and a neck clamp is formed. All this can lead to poor-quality sound of music, as well as the inconvenience of playing on compression, because the button accordion will “fall through”.

The next common mistake is that the student bends the left leg at the knee and “hides” it under the chair (Fig. 9).

With such a landing, the left leg quickly gets tired, the control of the bellows becomes difficult, the instrument begins to “choke” when changing the bellows. In addition, most of the weight of the instrument falls on the left shoulder, which can lead to curvature of the spine and chest. There is an overstrain of the spinal muscles.

If the child is clamped by nature, then this type of landing may appear: the feet are moved one to the other, the knees are tightly compressed (Fig. 10).

With such a fit, there is absolutely no stability of the instrument, both its right body and its left one. Difficulty guiding the fur in both directions. A lot of stress falls on the shoulders, forearms and hands. The instrument during such a landing is very close to the body, which makes it difficult for the musician to fully breathe. This can lead to incorrect phrasing in the work. It may also cause dizziness. Such a fit may appear in an accordion girl if she is in a tight skirt, without velvet.

When the student is in a relaxed state, his legs involuntarily move forward (Fig. 11). With this landing, the possibility of relying on the legs during the game is excluded. At the same time, a huge load is placed on the shoulders and spine, the chest is clamped, thus, breathing is lost. If you abuse this position when playing the instrument, stoop and curvature of the spine may develop.

When the student sits on a small chair, he tries to lower his knees for convenience, for this he hides his legs under the chair. If a student is not a self-confident person by nature, then he can also hide his legs under a chair in a crosswise position (Fig. 12). Such a landing may be accompanied by instability of the instrument, there is no support on both feet, the weight of the player’s body is directed to the instrument, which worsens sound science, makes it difficult to change the fur, The shoulders and spine are heavily loaded, the instrument hangs on them.

Often, in order to look at the keyboard, the accordion player has to lift his right foot or both feet on his toe in order to bring the desired part of the keyboard closer to him (Fig. 13). Also, such a situation is possible with internal tightness, or fear (for example, performing on stage). This position is possible if a small chair or tight belts. During such a landing, the support on the feet is lost, the Instrument partially loses its stability. There is no possibility of playing on wide fur. The instrument leans on the chest, making it difficult to breathe.

When the accordionist feels insufficient support on the feet, not voluntarily trying to improve his position, he puts his feet on his heels, thereby acquiring an imaginary support (Fig. 14). The imaginary support lies in the fact that with such a landing, the instrument moves away from the body of the accordion player, who, in turn, has to lean on the accordion with his whole body. Thus, the heels bear the weight of the body and the instrument. Perhaps such a fit will be convenient for pregnant girls and overweight people, since the distance between the body and the accordion body increases significantly.

When parsing a work, bayan players usually often look at the keyboard, while the button accordion is kept on their knees in an inclined position, their head is lowered down (Fig. 15). With such a landing, the instrument presses on the chest, which makes it difficult to breathe, causes stoop, the correct position of the hands is violated, the accordion player does not develop the tactile sensation necessary for professional growth. In addition, about such a landing there is an incorrect change of fur, because of which the instrument deteriorates. It is appropriate to look at the keyboard when jumping big or when playing a complex chord.

With an incorrect fit, the positioning of the hand often “suffers”, the most common is excessive pressure of the hand on the neck (Fig. 16).

Even from an incorrect fit, the fur acquires an incorrect position, an accordion technique is often used - the “eight” (Fig. 17)

For best results, for professional growth and for physical health, proper posture is essential (fig. 18). A timely formed seat will serve as a huge prerequisite for the further creative and spiritual development of an accordionist.

2.3. The main criteria for landing an accordion player.

The main criterion for landing an accordion player is sustainability tool. The tool stands confidently on its knees without being held by straps and without hand support. With a slight movement of the legs, the instrument does not fall, which means that the criterion is met, the instrument will stand steadily without a tense state of the accordion player's performing apparatus.

If the instrument is close to the knees, then the performer is forced to lean heavily towards it, in this case the shoulder straps lose their functionality. The performer's body must be in direct contact with the instrument. Thus, we come to the second criterion, this is - ability to play the instrument. The main indicator of compliance with this criterion is the composure of the landing, and not laxity.

If the performer allowed himself to “fall apart” on the chair, i.e., lean on the back of the chair, a view opens to the right keyboard, but the weight of the instrument falls on the performer’s body, and support on the legs is lost. The game of compression in this position is very difficult, because the fur has to be raised, not driven. Third criterion: legs should stand steadily, creating support. It can be checked as follows: try to raise the feet on the heels or on the toes, if you can’t do it, then the criterion is met.

When sitting deeply on a chair, the support on the legs disappears completely, the entire load goes to the hip part, hence the fourth criterion follows: sit on the chair you need closer to the edge. This criterion is checked as follows, sitting deep on a chair, legs are most often folded under the chair. If the accordionist can stand up calmly, then there is no support on the hip part, all support falls on the legs.

If, during the game, the accordion player feels a discrepancy in the height of the chair, then a slight change in the landing can solve this problem: if the chair is high, then the legs are put on toes, if the chair is low, the left leg is bent inward, leaning on the leg of the chair.

During the game, the landing sometimes helps the accordionist in performing technically difficult places, for example: when playing on wide fur, it is advisable to move the left leg to the side. Fifth criterion: fur should always be on the left thigh.

When switching chin registers, raising the right leg to the toe will help; if necessary, look at the right keyboard, the right leg should be pushed forward. These actions will be available if the sixth criterion is met: the neck of the instrument should rest against the right thigh. When pushing the tool from the left side, it must not fall down or slide off to the side.

The last, in our opinion, criterion concerns tool belts.

The straps should help hold the instrument without restricting the performer. When playing on the squeeze, the left strap should not tighten, tightening the left shoulder. If the length of the right belt is correct, then the instrument will not “leave” to the left when playing the unclamp. If the shoulders are pulled forward, then the belts are small.

Of course, the fit of the accordionist depends on the physiological characteristics of the performer, the place of contact with the body of the performer, the angle of inclination, the length of the straps, etc.

Conclusion

In the process of this work, we have defined the accordion player's slot machine and identified its components. We analyzed the methodological literature of the accordionist in relation to the authors' attitude to the formation of the correct landing of the accordionist at the initial stage of training. The results were summarized in the form of a chronological table, according to the year of creation of the benefits.

The concept of landing in the process of work is considered in great detail, a complete definition is given, and its main types are also identified. In the form of a study, the most common mistakes in the landing of accordionists, as well as their consequences on the performing process, are considered. On the basis of the methods used in the work, the main criteria for the correct fit of the accordionist were formulated.

The tasks set by us are solved, the purpose of the work is achieved.

It is possible to continue work in the study of changes in seating during the game, as well as in a detailed consideration of the seating of the bayan player, as an element of revealing the artistic image.

The chosen topic can be expanded and developed in the direction of creating guidelines for the formation of landing.

This work can help novice accordion teachers, as well as amateur accordion players. For teachers with many years of teaching experience, this work can be useful in summarizing their experience, and help in identifying an indicator of their pedagogical skills.

List of used literature

1. Agafonov, bayan games /, yov. - M.: Music, 1998

2. Akimov, Y. School of playing the button accordion / Y. Akimov. - M .: Soviet composer, 1980

3. Alekhin, playing the button accordion / V. V Alekhin,. - M .: Soviet composer, 1977

5. Bazhilin, bayan (accordion) /. – M.: Ed. V. Katansky, 2004

6. Bazhilin, accordion games /. – M.: Ed. V. Katansky, 2008

7. Basurmanov, A. Tutorial of playing the button accordion / A. Basurmanov. - M .: Soviet composer, 1989

8. Govorushko, accordion games /. - L .: Music, 1971

9. Davydov, performance skills of the bayan player: a manual for universities /. - Kyiv: Publishing house "Oleni teligi" 1998

10. Egorov, B. General principles of staging when learning to play the button accordion / B. Egorov / / Bayan and bayanists. Issue 2. - M.: Soviet composer, 1984. - S. 104-128

11. Ivanov, the course of playing the button accordion /. - L .: Music, 1963

12. Lips, accordion games /. - M.: Music, 1985

13. Naiko, S. F. On the issue of staging an accordion player / / Krasnoyarsk State Academy of Music and Theater. – Krasnoyarsk, 2005

14. Onegin, accordion games /. - M .: Music, 1964

15. Pankov, O. S. On the formation of the bayan player's playing apparatus / // Questions of methodology and theory of performance on folk instruments / comp. L. Bendersky. - Sverdlovsk, 1990. - S. 3-12

16. Purits, articles on learning to play the button accordion; tutorial / . – M.: Ed. House Composer, 2001

17. Semyonov, school of playing the button accordion / yonov. - M.: Music, 2003

18. Sudarikov, A. Fundamentals of elementary learning to play the button accordion / A. Sudarikov: part 1. - M .: Soviet composer, 1978

19. Shulga, the work of students of universities of culture and arts in the discipline "Independent instrument (button accordion)": textbook. - Chelyabinsk: Chelyabinsk State Academy of Culture and Arts, 2007

20. Yakimets, methods of teaching the button accordion / . - M.: Music, 1987

21. Yakimets, elementary learning to play the button accordion / . - M.: Music, 1990

ABOUT THE BOOK
The book brought to the attention of a respected reader summarizes the many years of performing and pedagogical experience of its author - Doctor of Art History, Professor - Nikolai Andreevich DAVYDOV.
The value of the book lies in the fact that it reflects a qualitatively new level of the accordion player's performing art, achieved in the last one and a half to two decades. Its growth was stimulated by the reconstruction of the button accordion into the so-called ready-to-select multi-timbre concert instrument and the promotion of talented composers who create artistically significant works for the modern button accordion.

The flourishing of bayan performance raised it to a level comparable to a certain extent with violin, organ or piano performance. However, if there are at least dozens of works on the history, theory and methods of playing classical musical instruments, and hundreds of generalizing works in world practice, then the fingers of one hand will be enough to recalculate them in the field of bayan performance.

The level of development of the performing art of accordionists reached in our days is so high that it no longer corresponds to the traditional content and organization of knowledge in this area, their fragmentation, incompleteness, often the predominant technological, prescription orientation, a certain isolation, isolation from other areas of knowledge and performing creativity. In this situation, the book by N. A. Davydov is not only relevant. It is topical, since it overcomes the mentioned inconsistency by including bayan performance in the general system of musical performing arts as a whole, where all types of performance (piano, bowed string, wind and other instruments) appear as adjacent to the art of bayan players.
Turning to the methodology and technique of playing the piano, violin and other instruments, as well as to psychology, musical acoustics and music theory, the author of the book considers it unacceptable to automatically disseminate or mechanically transfer the experience of allies to bayan art. N. A. Davydov took from this experience only that most valuable thing that is common to all areas of the performing arts, or that does not contradict the specifics of the button accordion. The author sees the essential side of accordion performance and the specific feature of the accordion in the proximity of the hands to the keyboard, inseparable contact with it, their immersion in the keyboard, and the economy of movements.
The book repeatedly talks about the insufficient connection of bayan players with related fields, that they are often interested mainly in the performing specifics of their activity, while an accordion player who is familiar, say, with composer technique, is better versed in the structure of musical works, independently finds the correct interpretation of textural and other expressive means.

The author correctly refers to the most important issues that require immediate consideration: the definition of the specifics of the performing interpretation of the means of musical expression; identification of specific aspects of musical and performing thinking and intonational expressiveness of the button accordion; theoretical substantiation of the mechanisms of adequate intonation by the performer of the structural elements of musical works; development of the concept of the bayan player's artistic technique; substantiation of the co-authorship nature of performing arts, and so on.
The sound scientific study by the author of the subject of his research - the theory of the formation of performing skills, causes deep satisfaction. On the basis of the main premise of Asafiev's theory of intonation, a voluminous and deep analysis of the regularities of the performing arts on the button accordion was carried out. The author adequately composes these regularities in three directions: “the intonation-expressive possibilities of the button accordion” (I ch.); “performing intonation of musical meaning” (II ch.); “component elements of the bayanist’s artistic technique” (III ch.).
There is no doubt that the author, at a higher level of the research spiral, reached the famous “Nehausian” triad: instrument-work-performer. In the development of the last component of the triad, Chapter IV of the book, “The Education of the Performer,” was skillfully written.
It is impossible not to agree with the main range of issues on which N. Davidov especially focuses his attention. These are, first of all, questions of the specifics of the instrument and the patterns of articulation on it; the question of mutual adaptation of the artistic and expressive possibilities of the button accordion and musical and game movements (as a process of the formation of artistic and performing skills).
Secondly, this is a question of the specifics of the musician's performing thinking, operating not only with the categories of general musical thinking, but also with private (specific instrumental-performing) ones - such as timbre, articulation, agogics, dynamics (in the broadest sense of the word).
Thirdly, the question of the complex, synthetic nature of artistic technique, which allows for equivalent interchangeability of performing means of expression. And, finally, the question of constructing expedient psycho-physical micro-actions of a musician as the fundamental basis for further expedient deployment at the meso- and macrolevels, together reflecting the nature of expedient artistic technique.
The value of the answers found by the author cannot be overestimated. He, without exaggeration, widely "opens the doors" to the "secrets of mastery" of the widest layers of performers, including those on musical instruments related to the button accordion.

The author's success in working on the issues under consideration is due to the fact that he did not limit himself only to theoretical searches, but also widely used laboratory and empirical experiments. So, under his leadership, an experimental laboratory was organized, investigating the problems of forming the performing skills of an accordionist. Its fruits are visible in candidate dissertations and publications: Yu. Bai, N. Vroyako, V. Bilous, L. Matviychuk, V. Knyazev, V. Sharov, G. Shakhova. These authors, under the guidance of N. Davydov, created fundamental justifications for the main components of the performing arts: the instrument (V. Sharov), the motor skills of an instrumentalist (Yu. Bai), the accordion player’s ear and its specificity (G. Shakhov), psychotechnics (V. Bilous).
The solid "live" material offered to the attention of the book's readers constitutes the author's personal scientific and empirio-pedagogical experience. In the course of a long-term study of the problem, he performed 17 concert programs of various styles, prepared more than 100 high-class performers, including 39 laureates of international and republican competitions, most of whom were awarded first prizes, Grand Prix, honored artists and artists of Ukraine, professors, candidates of sciences, docents.
From the point of view of the future accordion performance, the author's idea of ​​openness, which runs like a red thread through the entire book, is very valuable and fundamental. N. A. Davydov is not inclined to absolutize his practical recommendations, developed on the basis of new, original and interesting theoretical provisions. These and many other advantages of the proposed book inspire confidence that it will become the same reference book for bayan players, like, say, G. Neuhaus's book for pianists, especially since fundamental works like the book by N.A. Davydov are for bayan players. almost not.
A. I. ROVENKO, Doctor of Arts, Professor
Yu. N. BAY, Candidate of Art History, Professor

• CHAPTER I Intonation-expressive possibilities of button accordion
  • 1. Means of musical expression in the performing process
  • 2. Intonation expressiveness of the button accordion
  • 1. Orientation
  • 2. Keyboard contact
  • 3. Technical dominant
  • 4. Hand weight
  • 5. Basic Hand Movement Shapes Chords
  • 6. Specificity of the work of the left hand Control of the dynamics Work of the fingers
  • 7. Coordination
• II. Expressive means as the basis of mastery
  • 1. Guiding movement
  • 2. Accentuation
  • 3. Line technique
  • 4. Performance dynamics
  • 5. Working on a melody is the main factor in the integrity of artistic skill

By the end of the 20th century, the Soviet bayan school had achieved great success. Nowadays, bayan and accordion performance has become an important part of musical culture. This is confirmed by the successes of the best accordionists and accordionists on the most prestigious music scenes in the world, the emergence of a significant and serious repertoire, a significant improvement in the design of the instrumentation itself, and the active development of scientific and methodological thought.

In this work, it became necessary to trace the history of the formation and improvement of the accordion as a musical instrument and to study the change in the possible repertoire of accordion players during the improvement of the accordion instrument in order to understand the principles of transposing a bayan work to an orchestra of Russian folk instruments.

The 70s of the XIX century were marked by the appearance of the first chromatic two-row harmonica in Russia, created by N.I. Beloborodov. This invention was a major milestone on the way to the emergence of a qualitatively new musical instrument - bayan. At the end of XIX - beginning of XX century. Russian masters of Tula, St. Petersburg and Moscow are developing more advanced schemes for three- and four-row chromatic harmonica. Such instruments subsequently came to be called button accordions of the Hegström system.

The fundamental moment in the birth of the fundamental design of the button accordion was the initiative of Paolo Soprani, who patented in 1897 a design that becomes a cardinal, fundamental moment in the creation of the instrument that we call the button accordion. In 1907, the St. Petersburg master P.E. Sterligov made an improved concert instrument with a four-row right keyboard. And in 1929, he finally designs a left keyboard with switching ready-made chords to an elective scale.

Thus, in just a quarter of a century of its development, the button accordion has gone from a household harmonica with imperfect keyboard layouts and a limited ready-made accompaniment to a ready-to-select concert instrument that has received very promising design solutions.

If initially the button accordion was made by hand, exclusively at the call of the soul, then at the beginning of the 20th century, especially after the revolution, the button accordion began to be mass-produced at special factories.

In 1960, the leading designer of the Moscow Experimental Factory of Musical Instruments, V. Kolchin, created the button accordion "Russia". In 1962, Yu. Volkovich developed the country's first timbre instrument with a broken soundboard of serial production "Soloist". In 1970, he also made a four-voice, ready-to-select button accordion of the Jupiter brand. In 1971, the designer A. Sizov created a concert instrument with 7 registers on a ready-to-select left keyboard.

In addition to the development and improvement of concert multi-timbre ready-selection button accordions, the assortment is expanding and new designs of serial instruments are being created. In 1965, a two-voice ready-to-select button accordion "Rubin" appeared at the Kirov Factory of Musical Instruments, designed by N. Samodelkin. In 1974, specialists from Tula created the button accordion "Lefty". In 1982, designer V. Proskurdin, together with master L. Kozlov, created a five-part instrument "Rus" and a four-part button accordion "Mir".

Bayan has become widespread. Harmonics were gradually becoming a thing of the past, and the button accordion could be seen everywhere: at weddings, dance and concert venues, in clubs and other folk festivals. Possessing great harmonic and timbre capabilities, the button accordion became an indispensable accompanying instrument, like a piano. Relatively light and easy to carry, it was like a small orchestra, combining the capabilities of different instruments.

The advantages of the button accordion were also recognized by professional musicians. They began to write works for him, transcribe the classics, make complex arrangements (I. Panitsky, V. Zarnov, F. Klimentov, V. Rozhkova, F.A. Rubtsov). In shops there appeared sheet music of special compositions for accordion players, both beginners and experienced ones. Classes for bayan players were opened in schools and music colleges, but among the people they were called accordionists in the old fashioned way.

During the war, the button accordion proved to be an indispensable tool at the front and in the rear. Artists who came to the soldiers at the firing line performed to his accompaniment, to the wounded - to hospitals, to workers - to factories and factories. There were even partisan detachments of their accordion players. After the war, along with captured German-made button accordions, accordions began to be brought from abroad, which had buttons on the basses, and convenient keys for the melody, like a pianoforte. One of the first accordions of domestic production was called "Red Partizan", later other brands appeared.

With a breakthrough in button accordion organology and technology, which occurred with a change in the rows of keyboards and fingering principles, and with a timbre-textural restructuring in the sound sphere of the button accordion, the issues of performing polyphony, non-traditional work on the auditory education of young musicians, problem-based learning, and analysis of instrumental composition and structural organization of the accordion orchestra and many others.

The timbre expressiveness of the button accordion has acquired a very significant and fundamentally new functionality. The most important property of orchestration was established in his sound. The timbre side of accordion music has become an organic part of composition and performance.

The increased interest in polyphonic genres, the appeal to the polyphony of the 17th - 18th centuries testifies to the disclosure of the button accordion not just as a polyphonic instrument, but as an element of organ culture. There is a noticeable texture and timbre relationship between the organ and the button accordion.

Along with the popularity of the instrument, the expansion of the repertoire, the skill of the performers also increased. High-class professionals appeared, and composers no longer considered it shameful to write special compositions for the button accordion: sonatas, musical pieces, and even concertos for the button accordion with a symphony orchestra. Maybe they were not comparable with major symphonic works, but on the whole it was a big step forward.

At the turn of the 1970s - 1980s, in each new piece of accordion large-scale form, a new character of presentation was felt. The freedom of choice of means and the qualitatively new properties of the bayan-instrument led the composer's work to quite radical results. The basis of the form _ musical warehouse _ receives a freer expression. Voices and voice leading lose their vocal nature, the flow from sound to sound is subject to instrumental logic, where sharp angularity of jumps, frequent discontinuity and rapidity of the flow of tones are typical. The bayan composer's creativity includes all types of musical warehouses typical of the music of the 20th century.

A confirmation of the high level of development of the button accordion and its musical capabilities was the opening of a special conservatory, a higher educational institution in the class of button accordion. At that time, there were no indisputable authorities that dominated the youth in this area, and great creative opportunities opened up for novice bayan players.

By the end of the 20th century, the domestic bayan school achieved great success. The names of talented performers performing in the largest concert halls of the world became widely known. our century. Over the past period, bayan art has reached significant heights.

Following the improvement of the art of playing the button accordion, methodological thought was also formed. Prominent Soviet accordionists - performers and teachers - made a significant contribution to theoretical developments. A number of schools, tutorials, manuals, as well as articles on various aspects of pedagogy and performance on the button accordion appeared. The ever-increasing musical culture of accordionists actively influenced the improvement of the design of the instrument itself.

All these important factors could not but affect the formation of the accordion repertoire and, in particular, the original works created during this period. And each stage in the development of the button accordion brought something fresh and original to the figurative system, especially textures, to the use of new techniques to achieve new expressive effects, to the structure of the musical language of the works. Over the past decades, a large repertoire has been accumulated, including works of high artistic merit, masterfully written and diverse in form and genre.

The first attempts to create an original repertoire for bayan date back to the 1930s. However, the plays by V. Zarnov, F. Klimentov, V. Rozhkov that appeared at that time, and even more so unprofessionally made by accordionists-amateurs of processing folk songs, could not satisfy the ever-increasing artistic demands of the musicians. Serious large-scale compositions and miniatures on folk themes were needed, which could widely reveal the expressive possibilities of the button accordion.

Since the mid-30s, one of the most prominent authors of arrangements of Russian folk songs has been the outstanding Saratov nugget accordionist I. Panitsky. Deeply knowing and absorbing folk song, he was able to extraordinarily carefully and subtly implement its features.

A major milestone in the development of music for the bayan was the works created in the mid-40s - early 50s by N. Chaikin, A. Kholminov, Yu. Shishakov. In them, with great artistic completeness and persuasiveness, the best qualities inherent in these composers were manifested: the “sociability” of the intonational structure of music, the variety of feelings expressed in them, the sincerity of emotional expression. At the same time, if N. Chaikin is more inclined towards the implementation of romantic traditions, then in the work of Yu.N. Shishakov and A.N. Kholminov, a direct reliance on the Kuchkist traditions is noticeable. At the same time, in the works of these authors, there is a noticeable desire to maximize the possibilities of the button accordion with ready-made chords in the left keyboard, to enrich the musical texture with new expressive means (such as two concertos for the button accordion with the Russian folk orchestra by Y.N. Shishakov (1949), Suite for button accordion solo by A.N. Kholminov (1950)).

Subsequent generations of composers created works mainly for the modern type of instrument - a multi-timbre ready-selected button accordion (A. Repnikov, Vl. Zolotarev, V. Vlasov, etc.).

As in other genres of musical art, the desire of composers working in the field of accordion music to overcome the well-known academic lethargy, the inertia of creative thinking inherent in some works of the previous time, to more actively seek new images and means of their intonational embodiment.

One of the manifestations of the button accordion functioning at the turn of the century and to the present day? this is his involvement in various jazz_ and pop_instrumental ensembles and typical pop_music ensembles, for example: “Pesnyary”, “SS Brigade”, “VV”, “Strelchenko_band”, “Bryats_Band”, “Romantic Trio”, etc. In the context of modern aesthetics, special attention deserves such a specificity of bayan performance as theatricality, which is expressed in the deployment of artists “towards the audience”, i.e. facing? to the listener (viewer), which provides mimicry-plastic attributes of theatrical art.

Thus, at the present stage, the problem of the repertoire in the context of accordion performance as an integral phenomenon of musical culture and art requires, of course, research from different points of view: from the genetic justification of the aesthetic and art history preconditions for the emergence to the study of the possibilities and prospects for development in the context of the latest artistic trends and trends.

The initial stage of learning to play the button accordion is the most difficult, responsible and significant for a child. It depends on him to create the basis for the further development of the student. During this period, his attitude to music, spiritual and aesthetic development are laid.

The first years of study are a kind of stage in the musical and professional development of the child. In the process of working with novice musicians, there are no certain standards in training and education. The main thing in the creative process is to form positive motives in the child in music lessons. Here, methods are important for activating the learning process, increasing interest in playing the button accordion.

All children are born with certain prerequisites for musical inclinations. As of today, entrance exams to the music school have been cancelled. At the first stage, it is very difficult to unmistakably identify the musical abilities of children who cannot play and to foresee their further development.

It is necessary to interest the child, because attending two schools at the same time with the same responsibility requires enormous psychological, physical and mental stress. Faced with such a volume of information, the child begins to understand that learning is, first of all, work that requires great patience, attention, and many different self-limitations. Not all children can adapt to such a regime, so many experience disappointment, a drop in interest in learning. It is necessary to prevent this critical moment, to form in advance the desire to study at a music school.

The first lessons in this period are mainly informational in nature. It is important to convey it to the child in a language that he understands and, first of all, to captivate him with music. Listen more, talk with the child about the character, mood of the play or song. Be sure to sing it with a student. This involves the child in the "creative realm of music". Individual work provides such an opportunity.

Comparison of life facts taken from our everyday life, taking into account the interests and hobbies of each child, allows us to convey the necessary program information in an accessible form for him. With the help of various exercises, visual aids in the form of various pictures, videos, innovative methods of work, the teacher will be able to make the lesson interesting and make it memorable for students with different age categories.

Most often you have to work with young children. The physical and mental data of such children require a special approach. They are not very diligent and the 45 minutes spent can seem like an eternity for the student and the teacher. Working with such children should take place in a playful way. The lesson is divided into several periods: the first 15 minutes of studying the material, the next 5 minutes - rhythmic exercises to music. It can be a waltz, march, polka, square dance, etc., during which, in accordance with the style of music, the child can perform various dance movements, adhering to a clear rhythm. March - march; waltz - move your hands like a breath of a light breeze, swaying branches of trees (hands). Polka, square dance - the usual, simplest movements that children have known since kindergarten - a heel, a toe, or two stomps with legs and three slaps with arms. And finish the musical warm-up with the same march. Such a musical pause develops the imagination, emotionality of the child, a sense of rhythm; relaxes the muscles of the arms, legs and body.

For the next 15 minutes, continue to study a new topic or give the child a task to consolidate the studied material, depending on the complexity of the new topic. At the end of the lesson, it is important to make sure that the child has learned the topic and is ready to do homework on his own. Homework is written in a clear, concise language, in the smallest detail, in detail. For example: exercise 1 - with precise fingers, etude by heart 2 lines, a piece - to disassemble separately with each hand, observing the movement of the fur (squeeze, unclench).

Work with students begins with important points for any musician: the correct fit, hand placement, instrument position. Unlike violinists, vocalists, who spend many years on setting up their hands and vocal apparatus, accordionists deal with this issue very little. But the correct setting of the gaming machine at the initial stage of training is very important, because the possibility of expressing the artistic intention of the composer in the work depends on it.

The staging of an accordionist consists of three components: landing, installation of the instrument, position of the hands. When working on the landing, one should take into account the anatomical and physiological data of the student, psychological characteristics, as well as the nature of the work being studied.

The correct fit is such that the body is stable, does not restrict the movement of the hands, determines the composure of the child, creates his emotional mood. The correct fit is the one that is comfortable and creates maximum stability of the instrument, freedom of action for the performer.

You need to sit on the front half of the chair with a hard or semi-hard seat that is approximately at the level of his knees. Small children are placed under their feet with a special stand or put them on a chair with shortened legs. The accordionist has three reference points: resting on a chair and resting with his feet on the floor. Legs should be spread apart for ease of support. However, one more point of support should be taken into account - in the lower back. This is what gives lightness and freedom of movement of the torso and arms. The instrument stands steadily, parallel to the body of the student, fur on the left thigh. The body should be slightly tilted forward towards the instrument in order to keep the body in constant contact with the button accordion. The neck rests on the thigh. It is in this position that the button accordion acquires stability when playing “squeeze”. The shoulder straps should be adjusted so that there is a free breathing distance between the student's body and the instrument.

In some cases, a strap is used that connects the shoulder straps at the back. This gives the belts stability, they now do not fall off the shoulders. The left hand strap is also adjusted to allow the hand to move freely along the keyboard.

When playing the button accordion, the left hand and the right hand have different functional activities. The left hand is a power one (squeeze, unclench the fur). In this case, the main thing is not to lift the button accordion body up with your left hand. Right - solo performance on the keyboard. It is the right hand that requires special attention. The hand should be round in shape. In order for the child to hold the desired shape of the hand, you can use objects such as a ball, an apple. Grasping it with your fingers and rolling it on a hard surface, the child begins to get used to holding the desired shape and automatically adhere to it. The elbow joint should move parallel to the floor, while the muscles of the arm should be free and should not hinder the movement of the arm. You can use exercises such as a wave: interlock the fingers interlocked together in a lock and depict a wave with smooth movements. Such movements, if done regularly, contribute to the development of the flexibility of the joints of the fingers and the shoulder joint, which is also important for the correct development of the gaming machine and the position of the hands.

The main criterion for the correct setting of the hands is the natural naturalness and expediency of movements. When working on staging an accordion player, it is necessary that homework is done under the supervision of parents. After all, it is no secret that 90% of success, in the assimilation of this topic by a student, lies precisely with the correct completion of homework. Therefore, the principle of interaction between the teacher and parents must necessarily operate in teaching. To do this, it is desirable for parents to attend lessons in the specialty of their children. If this is not possible, then at class parent meetings, where they could hear their child play, analyze their development, correct adaptability to the instrument, and common mistakes made when performing musical works.

Novice accordionists, of primary school age, in order to gain confidence in their abilities, must be systematically stimulated with verbal encouragement. To evaluate their work and development is not a point system, since it is absent in grade 1, but for example: various pictures (emoticons, or favorite cartoon characters).

With this approach, the child will strive to receive the best possible praise.

When studying theoretical material (musical notation, durations of notes and their location on a musical staff ...) for a better assimilation of terms, it is better to use

visual colorful guide. For example: a whole note is a whole apple, a half note is an apple cut in half, etc.

The turning point and the most difficult moment is the direct study of the works on the instrument. Before starting to play, the student must have a good knowledge of the keyboard and the structure of the instrument itself, the principle of sound extraction.

Bayan consists of three main parts:

1) the right side of the body, to which the neck is attached with the keys located on it (right keyboard), a strap for the right hand and a large strap for the left hand;

2) the left side of the case with the keys on the outside (left keyboard) and a small strap for the left hand;

3) folded fur connecting both parts of the body.

Studying the right keyboard requires special attention. The previously acquired skills and knowledge are applied in practice, under the strict supervision of the teacher, without pressing the keys, firstly, the right hand moves up and down the keyboard, observing all the rules for the position of the gaming machine.

The muscles should be free and without tension in the movements of the hands. The peculiarity of the structure of the right accordion keyboard makes it possible for musicians to play in spite of it (blindly).

There are three rows of main and auxiliary keys on the neck of the right keyboard body. The rows are counted from the side of the fur. Main white keys: on the 1st row do, la; on the 2nd - mi, salt; 3 - si, re, fa. Sounds are extracted on the button accordion when the fur moves and the keys are pressed at the same time. You should press the keys calmly, without much effort, since the volume of the sound depends on the movement of the fur, and not on the force of pressing the keys with your finger. The air pumped by the fur enters the open hole with a key and sets the steel plate - "voice" in oscillatory motion. When you remove your finger from the key, the hole closes, the air stops flowing to the “voice”, and the sound stops. It is not allowed to open and close the fur without pressing the keys or a special vent valve, which some button accordions have on the left side of the case. With a weak movement of the fur, the sound is quiet, with a more energetic movement - loud, with excessive effort - very sharp and unpleasant to hear. You need to drive the fur only with your left hand. The right hand in the conduct of the fur should not take part. You can not help the movement of fur with your feet. Proper handling of fur is the main condition for expressive and meaningful musical performance.

Lessons with novice musicians should be varied and interesting, with a systematic change in activities. For many years of studying at a music school, children should listen a lot, be able to talk about music and musical works, be able to analyze musical text, perceiving a certain artistic image through the means of musical expression. At the first lessons, children should not only master the theoretical basics of music, but also learn how to purely intotone the melody with their voice, pick it up on the instrument from different keys, gain the ability to hear the harmonic accompaniment to it. First of all, it is necessary to teach the child to feel the logical connection of musical sounds that form a melody. There are cases when students performing complex pieces cannot reproduce (play or sing) from memory the melody of an already learned piece. The reason for this phenomenon lies in the fact that the initial pedagogical process was built incorrectly: the teacher paid attention to the craft and technical side of education, forgetting about musical development. The simplest chants and songs, when learned, should educate children in the correct auditory perception of the melody. At the same time, it must be remembered that a melodious performance, beautiful phrasing are associated with the correct mastery of the legato game. It is best to start the lessons by developing a good "legato" in the performance of the "legato" melody.

It must be borne in mind that real good sounding is achieved as a result of the direct work of fingers and bellows, and both the way the fingers touch the keys and the bellows are constantly complementing each other and, which should always be remembered, are mutually dependent on the specific music being played. Exercises for non legato, legato are useful to play with the transfer of the hand from octave to octave, while feeling the freedom of the hand. The types of creative work at the lessons of the special button accordion are very diverse, they captivate little musicians who begin to feel themselves and their significance in the musical world with the first success, with the first creative work. Typed independently in the program "Final" - the musical text is a masterpiece for beginner musicians. They begin to feel their involvement with music, with composing skills and begin to practice with enthusiasm. In working with a group of students, it is important to captivate them with a joint creative work. It can be preparation for any evenings, holidays. And here, you will certainly meet with a large scope of children's imagination. They love to draw, write scripts, compose works on their drawings and use them in theatrical performances. Children only need to be able to ignite and captivate with creativity!

Types of creative work:

• selection of melodies with their subsequent complication with rhythmic patterns from different keys;
• selection of accompaniment to songs and melodies;
• composing melodic phrases into words,
• composing a melody for rhythmic patterns;
• completion of phrases;
• writing question-answer phrases;
• writing a play for a drawing;
• transformation of a melody into different genres (march, polka, waltz, song);
• composing an etude with various transformations, and many others...

In parallel with the development of the child’s auditory control, it is imperative to develop the skills of reading all the complex signs included in the concept “The concept of “music text” means not only notes, but also designations of durations, dynamic, fingering instructions, etc.

It is imperative to accustom the student to a thorough study and precise implementation of all the numerous designations, which are the key to understanding the composer's intention. Cultivating the habit of exact observance of fingering designations, and subsequently a conscious attitude to this issue, will contribute to the technical growth of the student. The fingering is chosen by the teacher for the most convenient segmentation of the passage, followed by an explanation of the expediency of the chosen one, in order to overcome difficulties as soon as possible. Fingering is selected in accordance with the artistic objectives of the work.

In the first year of study, the student acquires certain technical skills, which are developed on special exercises in etudes, various positional constructions and five-key sequences, scales. The study of scales should be associated with their use in pedagogical literature, thereby combining technical and artistic tasks. "Technique must go hand in hand with genuine musical development from the very beginning," writes Hoffmann. The student's attention should be paid to the sound evenness in the game of scales. Proper study and assimilation of scales, exercises, etc. in the first year of study is the key to a good technical advancement of the student in the future. The development of the bayan player's technique should be associated with the general musical development. The most important task of the pedagogical process is the correct and productive exercise at the instrument. But an exercise cannot be understood as playing only scales, instructive etudes...

The technique includes mastering all the techniques that are needed to embody an artistic image. “Technique is touch, fingering, knowledge of phrasing,” writes M. Long. Therefore, work on purely technical tasks should go in parallel with work on sound, phrasing, etc. “Always connect the exercise with work on performance, the difficulty is often not in the notes, but in the prescribed dynamic shade,” wrote F. Busoni. It is necessary to subordinate technical work to artistic tasks so that there is no gap between musical development and the accumulation of motor skills. The results of work on scales and arpeggios, for example, without which the development of a student's technique is not conceivable, should be taken into account when performing works of art. There are cases in practice when a student who plays scales well cannot apply them in the studied works with the necessary dynamics and phrasing. When choosing for a student the studies necessary for the development of certain types of technique, the teacher should give preference to those in which technical difficulties and musical tasks are in unity. The student, assimilating and accumulating motor skills, must simultaneously work on phrasing, nuance.

Used Books:

1. Akimov Yu. T. School of playing the button accordion
2. Lips F. R. The art of playing the button accordion
3. Sudarikov. fluency school
4. Barenboim L. Musical pedagogy and performance
5. Govorushko M. On the basics of developing the performing skills of an accordionist
6. Ilyin E. N. The art of communication
7. Semyonov I. Modern school of playing the button accordion

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Course work

Methodology for the formation of the performing skills of a musician

Introduction

I. Sound production

1.1 Some prerequisites for initial education

1.2 Articulation and touch

1.3 Metro-rhythmic difficulties

1.4 Features of tempo and dynamics

II. Technique

2.1 Brief concept of technology and its elements

2.2 Working on strokes

2.3 Fur tricks

2.4 Performing consonances

2.5 Independence of fingers and hands

2.6 Fingering and technical phrasing

III. Other aspects of work on the work

3.1 Aesthetic development

3.2 Interpretation and development of creative thinking

3.3 Concert performance

IV. Conclusion

Bibliography

articulation concentric fingering consonance button accordion

Introduction

In just one century, the button accordion has gone from a simple folk instrument to a complex, multifunctional mechanism that allows you to play music of any genre, imitate the sound of many other instruments, widely use the features of the range, registration, and sound extraction. All this opens up wide opportunities for the performer, but also leads to inevitable difficulties. The modern practice of musical performance requires from the musician deep emotionality, spirituality, freedom of performance. One of the prerequisites for a high level of performance is the technical preparedness of the musician. Technique is a part of the craft, and directly affects the artistic image. While working on a work, the accordionist is engaged in polishing individual details, exercises to work out thinning, strokes, dynamics and other elements. The success of mastering the performing arts will depend on how focused the work will be not only on the technical equipment of the performer, but also on the artistry of the technical material.

1. Sound production

1.1 H Some Prerequisites for Primary Education

Work on an artistic image should begin from the first lessons, already when learning the simplest works, it is necessary to achieve expressiveness, meaningfulness of performance. Folk melodies are especially suitable for this, the emotional and poetic meaning of which is quite simple and understandable. However, the lower the technical level of the student, the more difficult it is for him to work on an artistic image.

Music is the art of sound, its re-creation should fully reveal the content, the meaning of the image, so you should first dwell on the relationship

Sound with some features of the button accordion. There are a number of conditions that qualitatively affect the performance of any musician. Firstly, complete freedom of the hand, based not only on the individual state of health, musculature, psychological emancipation, but also necessarily follows from the competent setting of the instrument and the correct fit of the accordion player.

Secondly, teachers of the modern school are increasingly raising the question of the quality of the instrument, since a bad sound is often instilled in the student automatically, due to the impossibility of demonstrating a good, full saturated sound on a low-quality button accordion, or the student’s inability to extract a more “lively”, spiritualized tone on bad tool.

Thirdly, the social aspect plays an important role, that is, family, living and cultural conditions that previously influenced the development of the student.

1.2 BUTarticulation and touch

Artistry in music lies solely in the reproduction of various shades and gradations of sound, so the performer should direct all efforts to the formation of sound expressiveness. The peculiarity of the button accordion is that it is possible to control the subtlest shades of dynamics and in some way influence the timbre with the help of fur.

Articulation - ways of touching the fingers to the keys and methods of mechanical science. They are in constant dependence on each other and on the image of the performed work. Articulation can be divided into 3 types - finger, fur and fur-finger. Depending on which articulation is used, the attack and ending of the sound will change, they will have a smooth, soft character, or a sharp, jerky sound. The most common is finger articulation, when fur is first pushed with the necessary effort, and then a key is pressed. When the sound ends, the opposite happens. From the very first lessons, the student must be warned against monotonous mechanical finger work. The first homework assignments should already include some elements of creativity - the use of contrast dynamics, various rhythmic patterns on at least one sound when practicing articulation techniques. (The famous counting rhyme "Andrey the Sparrow").

Touche - a way of touching the keys, pressing, pushing, hitting or sliding (glissando). Modern teachers recommend using glissando as a staging exercise to develop a sense of the "bottom" of the keyboard. It also has artistic meaning, as it introduces the student to an interesting artistic technique widely used in accordion performance. In the future, glissando can be used in creative tasks for improvisation and variation, and in metro-rhythmic exercises.

For the artistic expression of the composition, the role of the movement of the fur is extremely great. It all depends on the work of the left hand. The fullness and depth of the sound will not be lost even at low force if the bellows is constantly carried with the left hand, without stopping the movement even in pauses. Excessive driving force invariably produces a forced sound, while passive accompaniment results in a hollow sound. The conclusion follows from this: without a certain setting and precise physical distribution of the movements of the hands, fingers, body, it is impossible to make the instrument sound expressive. The main thing is the ability to find the most appropriate moment to change the direction of the fur. It is determined not only by the structure of the phrase, but also by the nature of the melodic movement. One of the features is that some sounds of the melody are emphasized, while others are pronounced without underlining. This makes the change of direction before the accented beat the most appropriate. The most striking accent requires a climax. Therefore, most often the direction of the fur changes in front of him. This should be implemented as discreetly as possible. The most difficult thing is when the climactic sound is separated from the previous one by a jump, and the longer the interval, the more imperceptible the change of fur. And vice versa, the interval of the ascending small second makes it very noticeable and therefore undesirable: A change of bellows is absolutely unacceptable if the climax is preceded by a bunch of a smaller metric category. The simplest and least noticeable by ear is the change between repeated sounds, especially if the first of them is at a weak time, and the second at a strong or relatively strong time. In polyphony, you often have to change fur on sustained sounds, you need to do this quickly, making sure that the dynamics do not change during the change,

When performing the cantilena, it is necessary to strive as much as possible, to bring the sound of the button accordion closer to singing, to the human voice.

1.3 Mrhythmic difficulties

Melodic, rhythmic, tempo structures are interconnected and determine the general character of the work by their specific means. Often, the meter-rhythmic accuracy of performance requires special attention, due to the fact that music is a sound process that unfolds in time, hence the need to consider its various factors - the metric ordering of rhythmic groupings, tempo and deviations from it, caused by certain artistic tasks. The connection between sound and rhythm becomes especially clear in cases of rubato. One reason for uneven play is the lack of coordinated movements of the right and left hands, which sometimes results in the right hand "overtaking" the left. The way out in this case is to play at a slow tempo, with accentuation of the strong beats by fur, but it is permissible only in those places where there are fingering or other difficulties, the abuse of this technique leads to a distortion of the artistic plan of the piece. Rhythmic harmony can be disturbed by the jumps occurring in the left hand, they affect coordination, and as you know, the discrepancy between the movements of the hands and body with the sound image disrupts the performer and listeners' idea of ​​the nature of the music. Often the rhythmic organization in motor pieces suffers due to the unevenness of the touch, the uneven touch of the fingers. This occurs ^ when a large load falls on the "weak" fingers.

With all the conventionality and schematicity of the meter-rhythmic notation, only an accurate reading of the rhythm written out by the composer reveals the emotional and expressive meaning inherent in it. The image of the work is easily distorted if the exact ratio of durations is violated, especially when playing with a dotted rhythm at a slow tempo, or when another rhythmic figure follows the dotted line on the next beat of the bar. Accurate performance in such cases is favored by awareness of the artistic significance of the new rhythm. This is especially important when working on polyrhythm, you need to feel the expressive meaning of any polyrhythmic combination. One can be convinced, for example, that the movement in the main melodic voice in groups of a smaller number of notes than in the accompaniment gives the melody more calm, smoothness.

A separate place in the game is occupied by errors associated with the execution of pauses, you need to remember that this is not just a break in the sound. Pauses are artistically justified meaning. Sometimes students can move during the pause, adjust the belts, look at the keyboard. This knocks the performer (and listener) out of the image. One line of development disappears, and if the caesura is violated between parts, the opportunity to set off contrasting themes, give liveliness, expressiveness disappears. (V. L. Zolotarev Suite No. 3, “Loneliness”).

1.4 O features pace and speakers

The nature of the internal movement of the work, its development depends on the magnitude of the tempo. It is necessary to pay attention to the correct interpretation of the tempo copyright instructions. For example, playing in tempo does not mean the maximum tempo that will accompany the entire piece. It is important that the teacher correctly compares the technical capabilities of the student with the pace of development of the work as a whole.

The most common mistakes:

1. The inability to choose the initial tempo, especially when performing the cantilena, in this case, the teacher must direct efforts to activate, sharpen the student's figurative-emotional perception, experience of music. If this is not enough, you can offer to mentally sing a few measures of the work, so that, having started the performance, the student is already in the desired rhythmic sphere. It is not necessary to sing the piece from the beginning, it is more expedient to sing those measures that most clearly convey the movement in short durations.

2. The attention of the performer is directed to overcoming technical difficulties, as a result of which control over rhythm is weakened. That is why technique is so important, it gives freedom, naturalness of expression.

3. Violation of the tempo when performing rubato. The solution of agogic nuances, the measure of rubato largely depend on the individuality of the performer, his intuition, talent, taste, breadth of outlook and creative imagination, as well as the characteristics of each work, style and composer's manner of the author. Creative performance is born as a result of the interaction of intuition and fantasy with a deep analysis of the work. It is impossible to achieve a combination of correct performance and rhythmic freedom of a given phrase without finding its correct nuance. The tempo of individual parts of a work or cycle can only be considered in connection with the tempo of other parts and the feeling of some temporary whole of the entire work or cycle. To designate various tempo deviations, the authors use the terms meno mosso - less mobile, piu mosso - more mobile, or accelerando - speeding up, ritardando - slowing down. The first oblige to instantly change the pace, and the second - gradually. Often the designation a tempo (at the same tempo) is understood by the performer in a straightforward manner, which leads to unjustified jerks in the speed of movement. The content, the nature of the work will always tell you how to return to a tempo, suddenly or gently, gradually. Agogic freedom requires observance of the law of compensation - "how much you borrowed, so much you gave back." The musical intuition of the performer, prompting him to various agogic nuances, must be subject to a strict temporal regime and logical calculation. A certain difficulty is the free execution of cadence constructions. For greater clarity in their performance, it is necessary to group in a certain way and outline the boundaries of the action of accelerando and rallentando, calculate them in time. (D. Barton "Toccata and Fugue in D Minor"). Logic may suggest that in pieces of a toccata, march-like character, the use of rubato is hardly appropriate. This does not mean at all that they should be performed with some mechanical uniformity, there will be other agogic shades (caesuras between individual constructions and parts, accelerations and decelerations, change of tempo. A correctly chosen tempo will contribute to the accuracy of execution and clarity of expression of the dynamic plan. The student should be given a broad concept of a dynamic scale.

A common mistake is the inability to show the difference between p and pp, f and ff.”* Moreover, for some students, f and p sound somewhere in the same plane, in the average dynamic zone. Hence the dullness, facelessness of performance. In the field of sound related to forte, it is important to warn the student against the danger of exaggeration and excess. You need to have a powerful, strong sound, but the sound should not lose its expressiveness, richness, and beauty. It's a good idea to practice on one sound in order to accurately match your own strengths with the dynamic range of the instrument. A very important point is also the ability to distribute crescendo and diminuendo to the required piece of musical material. Changes in tempo and dynamics usually do not start at the very beginning of a measure or phrase, but occur a little later, often on a downbeat. Of particular difficulty in this case are short excerpts, where carefully verified mechanical knowledge and strokes are required. The most common mistakes are speeding up when playing crescendo and slowing down when playing diminuendo, which can be corrected by practicing with a metronome in the classroom and at home.

II. Technique

2.1 K short p the concept of technology and its elements

Many performers under the word "technique" mean only fluency, speed, evenness of sound, that is, individual elements of the technique, and not the technique itself as a whole. Technique - a set of technological means, skills necessary for the implementation of artistic intentions - various methods of sound production, finger motor skills, hand rehearsal, techniques for playing with fur, etc. To achieve a technique that allows you to freely play works of any level, you must use all the anatomical features of the hands and body, starting with the work of the smallest muscles of the fingers and including the participation of the muscles of the body. Bayan technique can be subdivided into small (finger) and large (interval), as well as the technique of playing with fur and the technique of sound extraction.

Main elements:

1. Taking one sound.

2. Melismas, rehearsals, successive performance of two or more notes in one position.

3. Single-voiced scales, performance of scale-like passages that go beyond one position. Arpeggio.

5. Playing with double notes.

6. Chords.

7. Hand transfer and jumps.

8. Performance of polyphony.

Below we will consider some means of musical expressiveness necessary for the development of the performing culture of the accordion player.

2.2 Rwork on strokes

A special place in the work on the essay should be given to strokes. They must perform both an artistic and a technical function. “Strokes are characteristic forms of sounds obtained by appropriate articulation techniques, depending on the intonational and semantic content of the work.” Conventionally, they can be divided into lingering, connected - legato and legatissimo, separate - non legato, and short, short-voiced - staccato and staccatissimo. Lingering (connected and separate) strokes are necessary mainly in the performance of the cantilena, and short (short-sounding) serve for clarity, sharpness of the separation of sounds or chords, both in continuous movement and separately. (I. Ya. Panitsky "Pedlars" var. No. 1).

Characteristic features of the main strokes and methods of execution:

legato - connected). The fingers are placed on the keys. The brush is soft, but not loose, it should have a sense of purposeful freedom. The finger gently, without a swing, presses the desired key, causing it to smoothly sink to the stop. Each subsequent key is pressed just as smoothly, simultaneously with its pressing, the previous key gently returns to its original position. It is important to monitor the evenness of the mechanics, and to ensure that the sounds do not overlap each other, auditory control plays a major role in this.

Non legato - not connected. It is performed by one of the three main types of touch with even fur. So that it does not turn out to be too jerky, you can tell the student that the duration of the sound of each note should be no less than the interval, the pause between sounds, but rather a little more than a pause or equal to it if the tempo is slow.

Staccato - sharp, staccato sound. It is removed, as a rule, with a wave of a finger or a brush with even fur. Depending on the musical content, this stroke may be more or less sharp, but in any case, the actual duration of the sound should not exceed half the note indicated in the text. The fingers are light and collected:

There are varieties of basic strokes that help to better realize the artistic intent - marcato - underlining, active finger strike when fur is jerking, martele - accentuated staccato, sharper fur jerk. Portato is a connected touch that has a more active sound compared to legato. It is used in melodies of a declamatory nature, tenuto - a separate stroke - the exact maintenance of durations and dynamics, De tache - the extraction of each sound by a separate movement of the fur to open or squeeze. it can be both connected and separate, performed with fingers or fur. The stroke designations indicated by the composer are largely conditional and usually require additions and clarifications. For a better understanding of the artistic image, you can use the game with the opposite stroke, instead of legato - staccato, and vice versa, this clearly shows the student how much the character of the work changes, and why it should be played with the stroke indicated in the notes, and not some other. (S. Frank "Prelude, Fugue and Variation in B Minor"). In addition, the method of changing or combining different strokes develops motor courage and activates attention.

2.3 M exov techniques

The main techniques of playing fur are unclenching and squeezing. The rest of the techniques are based on their various combinations. Tremolo - the most common technique, fast uniform alternation of unclenching and squeezing. Its main difficulty is to constantly control the state of the muscles, some must have time to "rest" during the unclenching, others during the compression, you need to monitor the uniformity of the sound, often students spend more effort to "push" the bellows into the unclamp, so it sounds louder. The movements of the left hand should not only be uniform, but also carried out not horizontally, as it seems at first glance, but diagonally, which gives freedom, looseness of movement. For successful long-term performance of tremolo, care must be taken that the instrument is as stable as possible, and did not move at all during the game, fit the straps more tightly, calculate the change of bellows in the work so that the tremolo starts with an almost complete compression.

The first attempts to introduce tremolo into use were made by Konyaev in the "concert piece", Kuznetsov in "Saratov searches". They imitated an accordion, or served as a kind of accompaniment to the melody.

Vibrato is a fluctuation in dynamics achieved by small pushes of fur during its continuous movement. It can be performed with both the left and right hand, sometimes with both hands or in other ways. The frequency of the vibrato will determine its sound, a large one can imitate a vibraphone, a small one can imitate a string tremolo. (Dalla-Podgorny "Dedication to Caruso").

Ricochet - an interesting technique, first used

V. Zolotarev in the finale of the second sonata. It is based on the alternation of movements of the upper and lower parts of the fur in unclenching and squeezing. The ricochet is three and four beats, less often five or more, it can imitate the saltando stroke on strings, reproducing a dry, abrupt rhythm.

2.4 I fulfillment of consonances

The most important element of playing the button accordion is the performance of the Accompaniment. Its character must fully correspond to the nature of the presentation of the melody, its content, the style of the whole play as a whole. So, in pieces of slow tempo and in melody of a melodious warehouse, basses are often smoothly connected with chords, and chords are played in full duration, coherently. (Ivanovichi waltz "Danube Waves"). In a melody built on small fractional rhythmic durations, especially at fast tempos, such linking the bass to the chord (“pedalization”) and keeping the full duration in the accompaniment chords will only interfere with the melody, make it heavier and muffle it. For the most part, chords are played short, easy, especially in pieces with a moving tempo. There are many different types of accompaniment and techniques for performing it. It is important to note the main thing: the accompaniment should better shade, reveal and support the melody. The chord texture is difficult for bayan players in that it is required to quickly gather the fingers into the shape of the proper chord, which is especially difficult when the sounds of the chords are located on different rows. To overcome these difficulties, it is recommended to use such techniques as sliding, substitution of fingers, rotational movements of the hand. It should be mainly ensured that in the works of the cantilena character the melodic line hidden in the chords is played smoothly, the chords should be "brought closer" to each other as much as possible. (D. Buxtehude "Chaconne in E minor").

2.5 N independence of fingers and hands

All fingers are different by nature, their training should not be reduced to the fact that they become of the same strength, but so that any finger can extract the sound of the required strength, but, in relation to the button accordion, reproduce the desired stroke. The difficulty lies in the fact that the button accordion air with the same pressure passes through all open resonator holes, which does not allow you to highlight any one sound in the chord. Therefore, the methods of selecting individual voices in the texture will be reduced to work on the interaction of fingers with the keys. In polyphony, the difference in the sound of voices is usually achieved by playing them with different strokes, the independence of the fingers must first be practiced on scales with double notes. One voice, say, the top one, you need to play staccato, the bottom legato, and vice versa. You can add the left hand, which will have one more stroke - non legato. Another means of showing a particular melodic line is a partial keystroke, usually used on the left keyboard, often as a partial bass, sometimes a chord. (E. Grieg "Folk melody"). This method is difficult for students, so you need to pay attention to it from the very first lessons, especially considering that for many instruments the sounds of the left keyboard are often louder than the right one, when they are played, they drown out the part of the right hand. Another way to show a melody running against the background of chords is a subtle nuance in mechanical science, if the sounds of a melody are first played, and then another voice or accompaniment is superimposed on them, then at the moment another voice or chord enters, you need to pause the bellows a little, or lead it a little less active. (A. Rubinstein "Melody"). The difficulty is that by stopping the fur, the student is distracted by it and is late with the execution of notes in the right hand, mechanization with slowdowns and stops is practiced in advance, it should become automatic. It is impossible not to mention the independence of the hands when playing bellows, especially tremolo, where an exact match of the played notes with the spread and squeeze is required. (V. L. Zolotarev Suite No. 1 “The jester plays the harmonica”).

2.6 A fingering and technical phrasing

Phrasing is a syntactic fragmentation of a musical work, it is divided into parts, periods, sentences, phrases, motives. Usually, the accordion player's thinking is associated with the division of a work into phrases, this is due not only to the usual perception of music, but also to the need to change the fur, which often coincides with the phrasing. The performance of each particular phrase depends on the previous and subsequent material, and on the nature of the whole piece as a whole. The performer is required to have a clear sense of perspective, a competent arrangement of caesuras, giving the necessary expressiveness, but not violating the integrity of the work.

It is important to choose a good, most suitable fingering. as it contributes to a better solution of the required artistic tasks and the speedy automation of game movements. The main advantage of fingering with a gamma-shaped movement is that it provides a calm state of the hand and a uniform, rhythmic movement of the fingers, which allows you to focus on mechanical science and better control dynamic changes in sound. Unreasonable violation of the fingering is unacceptable. Nevertheless, there are cases when the fingering principle is violated not only with the appearance of jumps, but also with progressive movement,. This happens. If it is impossible to achieve a coincidence of technical and musical phrasing, here artistry should prevail over convenience, it may be necessary to violate the positional principle, or even temporarily change the positional fingering to the traditional one. (V. L. Zolotarev suite No. 1 “The jester plays the harmonica”). Technical phrasing is used only during the period of learning a piece, when the emphasis on strong beats helps to maintain the meter-rhythmic integrity and clarity of phrasing.

The main principle in the selection of third fingerings is the longest preservation of a certain paired alternation of fingers. However, the main condition should not be the convenience of performance, but the preservation of the technique indicated in the notes. Where it is impossible to maintain the principle of pairing, one has to use slips, substitutions, taking small thirds with one finger. (G. Shenderev “In the damp forest of the path”). It can be difficult to keep the strokes, especially when playing legato. Therefore, that fingering can be considered convenient, with the help of which it is best to express the author's thought.

III. Others aaspects of work on the work

3.1 E aesthetic development

Comprehensive musical training has a beneficial effect on the aesthetic and artistic development of the accordion player. It is necessary to listen to music more often (performances of soloists, symphony concerts, opera), preparing in advance for the perception of musical works. It is very useful for accordion students to listen to each other in class, as this makes it easy to notice performance flaws. By analyzing the causes of other people's mistakes, you can quickly find and correct your own. A good knowledge of vocal music plays an important role in the overall musical development. It is achieved through systematic listening, as well as the performance of vocal works, primarily folk songs, with the voice and on the button accordion. The specific content expressed in the text, combined with music, helps to better understand the ways of implementing the author's intention. The perfection of folk songs and works of the classics provides a wide scope for the development of an aesthetic sense together with fantasy, excites the desire to develop their own musical themes and brings up artistic taste and a more critical assessment of one's own work. Not bad contribute to the overall development of knowledge from other areas of the arts. It is necessary to read as much fiction as possible, this stimulates the imagination, systematically visit the theater and cinema, be aware of modern dramaturgy, adopting some useful artistic experience.

3.2 And interpretation works and development of creative thinking

A true musician-performer is inconceivable without creative initiative and independence. It is necessary to work on the development of these qualities every day, during the entire period of study. For younger students, software works are well suited, which not only tune in a certain way, but also develop fantasy and imagination. At the initial stage, the teacher awakens the initiative of the student in the process of the lesson itself.

If the academic performance is high, you can let yourself complete the half-learned work on your own. A student who does well with this task can be asked to learn the whole piece on his own. The method of persuasion helps the development of creative initiative.

It should be shown with concrete examples how to perform this or that part of the work, why with such a technique and such fingering.

Undoubtedly, one should take into account the student's own perception, since the interpretation of the work may be different, even if there are author's instructions in the text. Arrangements of folk songs, as well as ancient music of unknown authors, generally have different interpretations, the student can intuitively find the best option, but one should not be completely led by him, because students often try to play in the simplest way, as a result there is a discrepancy between style and sound works.

It is impossible to limit the performance to the framework of the teacher's idea of ​​the sound of this work. It is important to find a medium that would provide an opportunity for the development of the student's creative initiative, but would also keep him within the given style. To develop creative independence, you can use the choice of work at will. If the play proposed by the student is a full-fledged work of art and corresponds to the level of technical development at this stage of training, you can add it to the work plan.

3.3Kconcert performance

As you know, a performance on stage should crown any work on a work. Each teacher, before releasing a student on stage, must take into account a number of factors that accompany any performance. Firstly, it is extremely important how the program is composed, you need to start with a less complex, perhaps cantilena piece, which will allow the performer to hear himself and get used to the acoustics of the hall. The first piece establishes contact with the audience, sets it up to listen to music. Secondly, you should not mix genres, usually the program is built in such a way that

First, classical music was performed, then romantic music, folk adaptations, and the performance ends with modern plays. For an inexperienced performer, the decisive factor is such a construction of the program, in which he can play it with a rational distribution of physical forces and without errors. The final piece should be a piece that will put a logical end to the concert, or become its culmination. Thirdly, the work should be worked out in such a way that the performer could start it from any measure, or at least from any phrase. The teacher's duty is to teach the student not to get lost in case of mistakes and blots, to keep going forward, to give an idea of ​​some techniques that can help on stage in case of mistakes. A minor blot can destroy the entire performance plan, if it is perceived as a tragedy, errors should be analyzed only after the performance. Fourthly, on the day of the concert, you should not tire yourself with classes, whether to play the program or not, everyone decides for himself, but you definitely need to play well, especially before performing in an unfamiliar hall, when not only its acoustics are unknown, but also the temperature. In no case should the teacher give advice before going on stage, they violate the internal state and are essentially useless, it is still impossible to correct anything during the performance, but it is very easy to sow panic and uncertainty in an inexperienced performer, but an experienced one " useful "tips will distract from previously made developments. Everything should be taken into account and done in advance, but if any shortcomings are found, you should not postpone the performance, it is better to correct the errors in the future. This is what distinguishes a good performer, he continues to improve the program after the concert, completing it, or rethinking it anew.

IV. Conclusion

All the work of the musician on the work is aimed at making it sound in a concert performance. A successful, bright, emotionally filled and at the same time deeply thought-out performance that completes work on a work will always be important for the student, and sometimes it can turn out to be a major achievement, a kind of creative milestone at a certain stage of his education. It follows from this that the previous technical training should not be reduced to the mechanical development of movements, but must contain an artistic principle in advance. Technical material can be implemented creatively, become interesting and memorable for the student. Bayanists already have such methods, the earlier ones are a manual on the development of bayanist technique by Vladimir Podgorny “Modulating scales and arpeggios in a closed circle system”, and modern ones, for example, Alexander Gurov “Development of bayanist technique using the method of exercises”. The synthesis of two principles - technical and artistic - will provide the musician-performer with a conscious understanding of music, its highly artistic performance, which will impress the discerning listener.

Is the listliterature

1. Davydov N. A. "Fundamentals of the formation of the performing skills of the accordionist" - Internet version, 2006

2. Lips F.R. "The Art of Playing the Bayan" - Moscow, 1985

3. Neuhaus G.G. "On the art of piano playing" - Moscow, 1958

4. Pankov “On the work of an accordionist on rhythm” - Moscow, “Music”, 1986

5. Chinyakov A. "Overcoming technical difficulties on the button accordion" - Moscow, "Music", 1982

6. Yakimets N. "The system of elementary learning to play the button accordion" - Moscow, "Music", 1990.

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