Modern ensembles of folk instruments. Work with a mixed ensemble of Russian folk instruments

Methodical development“Features of the work of a teacher-musician with an ensemble of different ages mixed type

(plucked and reed folk instruments, vocals, bowed instruments) in the institution additional education»

This development may be interesting and useful for teachers of additional education, leaders of ensembles in the organization of art groups

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State budget non-standard educational institution

"St. Petersburg City Palace of Youth Creativity"

City center for the development of additional education

Refresher courses

Methodical development

“Features of the work of a teacher-musician with

Mixed ensemble of different ages

(plucked and reed folk instruments,

vocals, string instruments)

in an institution of additional education "

Ekimova Elena Vladimirovna,

Vladimirova Valentina Alekseevna

additional education teachers

State budgetary

institutions of additional education

Palace of Children's Creativity

Petrogradsky district

Petersburg

Saint Petersburg

2015-2016

Explanatory note

The centuries-old development of the world musical culture confirms that performance, whether instrumental or vocal, is unthinkable without ensemble music.

An effective and popular form of introducing children to musical art is ensemble music-making, which gives each student the opportunity to show their abilities in collective musical co-creation in accordance with their abilities and level of training. The study of ensemble literature and mastering the skills of playing together are an integral part of the education system young musicians. Ensemble music-making has gained particular demand and relevance in the modern period. Evidence of this is the large number of competitions, festivals, specially dedicated to ensemble performance, musical publications, which include a huge number of the most diverse arrangements of popular works of classical and modern repertoire for different ensemble compositions.

This development may be interesting and useful for teachers of additional education, leaders of ensembles in the organization of art groups.

This methodological development presents the experience of organizing the activities of the uneven-aged mixed ensemble "April" of the Palace of Children's Creativity of the Petrogradsky District. The team appeared from the idea of ​​teachers of additional education -connect different groups instruments that have a different timbre sound of instruments of folk and symphony orchestras.

Our team is non-standard in its composition, it includes students different ages involved in the following additional general education programs:

1. "Ensemble folk instruments»;
2. "Ensemble of Bayan and Accordion Players";
3. "Learning to play the violin";
4. "Vocal Ensemble"

aim organizations of mixed age musical group is the development of social and creative activity of students through their inclusion in the joint musical process.

Tasks:

• educational:

Development of communication skills in a team of different ages;

Fostering a sense of partnership;

Education of tolerance for performers on other types of musical instruments, genres and styles of music;

Education of culture of musical performance;

Education of a culture of stage behavior;

Education of emotional perception and performance of musical works;

• developing:

The development of students' analytical abilities (the ability to listen and analyze own performance, as well as the performance of other groups);

Development of students' ear for music, memory and sense of rhythm;

Development of a creative approach to the performance of musical works;

Development of hand and body coordination.

• educational:

Acquaintance with string-bowed, folk and reed musical instruments;

Formation of students' skills of ensemble performance;

Formation of reading skills from a sheet;

Formation of stage performance skills;

The study of musical literacy and elementary music theory.

To creative teams educational programs All comers from 6 to 18 years old are welcome. At the first lessons, auditions are held, where the musical data of children are revealed, and, depending on their abilities, they are divided into groups of instruments.

Conditions for organizing a mixed ensemble and features of rehearsal work

The main condition for the organization of such creative team is a community of teachers of additional education aimed at finding new ideas.

An important step for successful activity is work planning. Teachers think over the work plan in each children's association and looking for common points contact. An annual concert and competition plans are being drawn up.

Points of contact:

• general repertoire
• general rehearsals
• joint performances.

Work on works begins within each association with learning musical material on individual lessons or at rehearsals in small groups.

An important role at this stage is played by the accompanist, who helps to get a complete picture of the piece of music. Students immediately learn to listen to their part in the whole sound of the piece, as well as to hear the parts of other voices. In addition to studying musical material and strokes, work begins at the same time on the image and character of music. Parts are mostly learned at a slow pace to master the technical difficulties.

In lessons without an accompanist, first of all, those places in the part that present the greatest difficulty are identified - technical, melodic, rhythmic, and work is carried out separately on difficult places, achieving a clear and correct performance with strokes, fingering, dynamics.

After the children freely master the musical material, rehearsals begin in each group of instruments. Here appears the complexity of the simultaneous performance of one voice, or several, if there is a division within one type of instrument. At this stage, work is underway on general touches, dynamics, search means of expression, as well as work on the figurative and emotional content of the works.

And the next stage of preparation for the performance is the consolidated rehearsals, where all groups of ensemble instruments are combined. used differentiated approach, the variability of the connection of different musical instruments:

• domra - balalaika - reed folk instruments
• violin - vocals
• violin - vocal - folk reed and plucked instruments and etc.

When working with children, an individual approach is applied to each child, each plays a role in the ensemble, depending on the level of performing skills achieved. At rehearsals, special attention is paid to work on the artistic image and form of works. Students are faced with a difficult task to harmoniously introduce their part into the overall sound of a multi-timbre ensemble, to hear a melody that takes place in different voices.

Selection of repertoire

Depending on the requirements for the concert and competition program, teachers select the appropriate repertoire for their general education program. A unified concert repertoire is selected jointly by all teachers based on the performance capabilities of students.

Solid, high-quality repertoire is the basis creative activity of any artistic group, it stimulates the growth of the performing and artistic skills of the ensemble members and at the same time contributes to the development of the artistic tastes of the performers, as well as the public. You should carefully select works of artistic value, combining interesting content with perfection of form, with original and diverse means of expression that can truly captivate the audience and reveal the artistic talents of the performers.

Creating a score

Well-made instrumentation is one of the decisive factors for the successful performance of an ensemble. In order to correctly compose the score, we studied the features of each group of instruments: their working range, dynamic capabilities, timbre sound features, stroke capabilities. Depending on the nature, texture, tempo, dynamics of the work, we divide the functions, present the material according to the specific quality of the instruments, the manner of playing each of them.

Characteristics of musical instruments

Our ensemble combines the following groups of musical instruments: domra, balalaika, accordion, button accordion, violin and vocals.

Each group, as well as individual instruments, has a rich palette of bright, individual colors that are used in the performance of melodies, echoes, passages, in various combinations with other instruments. Let us dwell on the brief characteristics of the main musical instruments of our team.

The violin's standard operating range is from "» small octave to «» fourth octave .

Violin timbre - thick in low register, soft and delicate– medium and light, shiny– at the top. Due to the closeness of the sound to the human voice and the ability to produce a strong emotional impact on listeners, the violin is the most suitable instrument for playing the melodic line. Also in the ensemble, it can perform an accompanying function. Since the timbre of the violin is very bright, a pizzicato stroke is usually used to accompany the solo part of the domra and balalaika group, or the accompanying part is performed in quieter dynamics than that of the solo group. The similarity of the timbre of the instrument with the timbre of the voice creates the possibility of harmonious sounding with the vocal part. Given this feature, the violin can play backing voices or one of the voices in a polyphonic vocal work.

Baby singing voices by the age of 10-12, they begin to divide into treble (has a range from the note "to" the first to "la" of the second octave, mobile, voiced) and alto (a lower and less mobile voice than the treble, the range from the note G small to G second octaves).

Domra is small. The range of small domra is from "mi" of the first octave to "la" of the third octave. Build - mi, la, re. The instrument is non-transposing. Low register - soft, juicy. The basic technique of playing "tremolo". The stroke "staccato" is performed by hitting down "P" or up "V". Pizzicato (pizzicato) - reception of the game with a pinch (ring finger or thumb). Domra small has a smooth and bright sonority throughout the entire range. In the low and middle registers on the small domra, melodious melodies sound expressively. The range of the prima balalaika is from "mi" of the first octave to "re" of the third octave. In the low register, the instrument sounds more muffled than in the middle. The balalaika has a great ability to perform melodies of a melodious nature with double and triple notes, using the following techniques: rattling, pizzicato, vibrato.

In our ensemble, the part of domra and balalaika performs both a melodic function (the main techniques are up and down beats, pizzicato, harmonics), and an accompaniment function. Given that the domra and balalaika are inferior in sonority to other groups of instruments in our ensemble, when playing a solo part, you need to dynamically highlight them.

Alto balalaika, like alto domra, is transposed down an octave. The range of the balalaika is from the note "mi" of a small octave to "do" of the second octave, and the domra from the note "mi" of a small octave to "la" of the second octave. Balalaika viola performs mainly the function of accompaniment. The low and medium registers of the alto balalaika are the most common. Alto domra has a soft, chesty sound in timbre. In our works, we give to the alto balalaika parties of an under-voice nature, the performance of various kinds of harmonic figurations in one note.

The accordion and button accordion compensates for the lack of wind folk instruments of the symphony orchestra. We use the instrument's right-hand keyboard, which ranges from the "sol" of the major octave to the "mi" of the fourth octave. Also, these instruments are often used by us as an accompaniment and perform the function of a piano.

Conclusion

This methodological development presents the experience of organizing the activities of the uneven-aged mixed ensemble "April" of the Palace of Children's Creativity of the Petrogradsky District.

The vocal-instrumental ensemble "April" exists in the Palace of Children's Creativity recently (less than 5 years), but the results of the work done by teachers and students have already appeared: certificates and top places at competitions (see Appendix 3). And also our experience interested other heads of artistic groups, who expressed their readiness for joint cooperation with our ensemble. The result was joint performances at concerts, competitions and festivals with various ensembles and choirs.

In the process of learning, according to additional general education programs, children mastered in practice musical and performing skills, sight reading, learned to play in a team, to hear each other in an ensemble.

The method of teaching the game in a mixed team includes an individual approach to each child, taking into account his abilities, character, physical health, and is presented in a game version. We invite children to express their point of view, to find artistic image and, as a result, develop non-standard thinking, fantasy, creativity, memory, attention, increase lexicon musical terms, develop musical and performing skills. The members of the collective are brought up with responsibility for the performance of pieces to other musicians, the development of musical ear, close acquaintance with musical instruments is underway. In working with the ensemble, the teacher must also take into account the educational process: teach children to respect each other, instill a sense of collectivism, camaraderie, mutual assistance, and thereby contribute to the development of the personality of each child.

In addition to the development of vocal and technical skills, the work of the ensemble on such works as V. Kosma "Toy" and R. Rogers "Song of Beautiful Things" contributes to instilling in children a love of music, which, in our opinion, is very important in educating students . The work of the collective on musical works, the performance of which includes various musical instruments, leads to a colossal "growth" of the team.

Bibliography

1. Kargin, A.S. Work with an amateur orchestra of Russian folk instruments // Third edition, Ed. T. Ershova, M.: "Music", 1987. - 41 p.
2. Chulaki, M.I. Instruments of a symphony orchestra // Third edition, Ed. K. Kondakhchan, M.: "Music", 1972
3. Lebedev, S. N. Russian book about FINALE // St. Petersburg: "Composer", 2003.
4. Raeva, OA Questions of formation of repertoire for ensembles of Russian folk instruments. Methodical development, Republic of Crimea, 2014.

General orchestra rehearsals are one of the main forms of training and creative work team. The placement of performers is important for the successful work of the team. Chairs and consoles for music are placed in such a way that the conductor can clearly see each of the orchestra members and be visible to them.
The rehearsal begins with a careful tuning of the instruments, always performed to the same instrument (bayan or oboe). The duration of rehearsals is two to three hours, after every 45-50 minutes of work there is a break.

The pace of the rehearsal is important. It is recommended to avoid unnecessary stops that dampen and tire the orchestra and lead to the loss of creative interest in the piece. A stop during a rehearsal must always be justified. After stopping the orchestra and waiting for silence, the conductor addresses the performers, avoiding wordy explanations, saying in plain language and quite energetic.
The analysis of difficult pieces, the development of technically complex fragments is usually carried out in the first half of the rehearsals. It is better to finish the lesson with a repetition of the finished material, pieces especially loved by the orchestra. The preparation of a work, from the first acquaintance to its performance in public, is a complex and unified process. creative process, all stages of which are closely interconnected.
The conductor starts his work long before the start of rehearsals. First, he studies the score of the work in detail and deeply, and the range of issues being worked out is very wide. This is the study of the creative biography of the composer, and the time when he created, and the history of creation this work, performance traditions.

It is extremely important to cover it as a whole already at the initial acquaintance with the work: reading the score at the piano or mentally intoning it. At the same time, a general idea is created about the main musical images, the structure and dramaturgy of the development of the material. Further, a holistic theoretical analysis most essential elements musical language, harmony, melody, tempo, metrorhythm, dynamics, phrasing. Based on a comprehensive study and careful theoretical understanding of the score, the conductor gradually develops an idea of ​​the performance plan.
Having studied all the details of the score, the conductor again proceeds to cover the work as a whole, but at a new, higher level, combining all the details into a single harmonious presentation. Only after a clear artistic plan has been drawn up, when a certain performance plan has been formed, can one proceed to rehearsals with the orchestra.
Before starting a rehearsal, the conductor needs to check the availability of all the parts, compare them with the score, clarify the correct placement of digital landmarks and dynamics. It is necessary to think over the touches for each orchestral part and clarify them in all voices without exception, identify all technical difficulties and outline ways to overcome them, taking into account the performing level of the musicians. Sometimes in parts there is a complex presentation of individual passages, jumps that are inconvenient for the performers, too high a tessitura, etc. In this case, editorial editing is necessary. Of course, such editing must be done very carefully, in no case violating the author's intention.

Experience shows that fruitful work at a rehearsal is impossible without a well-thought-out plan. The result of the conductor's self-preparation should be: an established interpretation of the work, corrected parts, a clear rehearsal plan. IN in general terms the plan of rehearsal work on a piece comes down to the following stages: playing the whole piece (if the technical level of the orchestra allows), working on the details, final finishing of the piece. The sequence of these stages, as in the pre-rehearsal work of the conductor on the score, follows from the principle - from the general to the particular, followed by a return to the general.

When playing a piece, the conductor has the opportunity to draw the attention of the performers to difficult orchestral episodes, to acquaint the orchestra in general terms with the performing concept. During playback, it is useful to call out the numbers, which helps the orchestra to navigate their parts. If the work is calm in movement, then it is possible to read it at the pace set by the author. It is necessary to get acquainted with technically complex pieces in slow motion so that the orchestra players can better understand the individual details of the piece. At the same time, it is necessary to point out from the very beginning any manifestations of false intonation, distortion of the musical text. A conductor who knows the score well will not miss a single mistake that may be found in the notes or accidentally occur through the fault of the orchestra player. It is not so difficult to hear falseness, it is more difficult to determine which instrument it has. The more clearly the conductor imagines all the voices of the score, the sooner he will determine this, and, consequently, the less time he will lose to eliminate errors.

If there are orchestral difficulties in a piece, then it is useful to start the rehearsal with them, asking individual groups to perform a difficult part, and then give the necessary instructions. If the fragment does not work out, it should be outlined for individual study. At a general rehearsal, it is necessary that the whole team be busy, and not work for a long time with only one group. The conductor must clearly imagine what can be achieved at this stage of the work and what will be performed only after some time.

Already from the very first rehearsals, the conductor's attention should be consistently directed from perception technical side performance to artistic. All technical difficulties can be overcome faster if the performer understands for what artistic purpose he needs to overcome them. The rehearsal work should convince him that the solution of technical problems is not an end in itself, but a means for a vivid and expressive embodiment of the content of the work.
Careful work at the rehearsal should touch all expressive means. Dynamic shades are one of the expressive means that help to reveal the musical image of a work. Based on a thorough analysis of the work, taking into account the requirements of style, the conductor finds the right nuances arising from the content of the music. At the same time, it is important to determine the main climax, to which all previous development strives, and secondary climaxes, emphasizing the moments of dynamic tension in individual parts and episodes.

For an orchestra, for example, a well-known difficulty is the execution of long rises and falls in sonority. The orchestra players are willing to play the crescendo, which usually reaches the top too early, and in the diminuendo it turns into pianissimo too early. To avoid this, for example, with crescendo, you can follow the well-known technique: start the rise from a quieter sound, then its gradual amplification is achieved. It must be remembered that the nature and degree of strength of each nuance arise from the peculiarities of the style of the work. It is desirable that any changes in nuance are reflected in the conductor's gesture. The amplitude and intensity of the gesture must be adjusted, clear and understandable to the orchestra members at the very first rehearsals.
The conductor is obliged to think over in detail the entire phrasing of the work in advance in order to decipher the structure of the musical phrase to the performers at the rehearsal. Even experienced musicians feel music in different ways, and the conductor's task is to unite different personalities, to subordinate them to a single idea.
During rehearsal work on phrasing, various methods of its assimilation can be used. Just one gesture is not enough. It is very useful to parse the phrase orally, defining it anchor points. Quite often you have to solfegge. To do this, it is not necessary to have a set and beautiful voice, but you need to sing clearly, cleanly, expressively. Orchestrators will ensure the flexible sound of the orchestra only if a common understanding of the phrase is realized by everyone.

Achievement good ensemble performance is one of the most difficult tasks in working with an orchestra. It is well known that joint performance requires, first of all, the same understanding of the artistic intent of the work - both in terms of content and style features, and in everything related to tempo, dynamics, strokes.
Based on the texture of the piece, the conductor must help the orchestra members to clearly imagine the role and meaning of their part in each episode. Often novice orchestra players strive to perform their part as boldly as possible, sticking it out unnecessarily, not caring about how this affects the overall sound. On the other hand, there are frequent cases of timid performance due to false fear. To overcome these shortcomings, it is necessary for the orchestra members to clearly understand the role of their part in the whole orchestral texture scores. A fairly common mistake is to overload the sonority of the "secondary" plan, associated with a loss of balance between the leading and accompanying voices. However, one cannot reconcile oneself with the primitive understanding of the sound perspective, which boils down to the fact that the first plan should be played loudly, and the second - quietly. The sound of both plans is always interconnected, and an excessive gap in sonority strength is undesirable. Sound balance should be controlled not only by the conductor, but also by the performers themselves.

In achieving an ensemble of performance, the correctness and accuracy of the strokes are extremely important. In choosing strokes, the conductor sometimes seems to have freedom: not all strokes are indicated in the scores. And playing with different strokes, especially on stringed instruments, distorts the nature of musical writing. Since the leader folk orchestra should be proficient in the basic instruments, it would be useful for him to try several variants of strokes himself or together with the accompanists of the group, find the most correct one and offer it to the orchestra. In the initial period, it is useful for the conductor to work in batches, achieving the same stroke. The strokes noted in the parts are usually within the power of the most ordinary performer of the orchestra to perform, and the conductor's task is to stubbornly achieve stroke expressiveness.

In practice, the conductor has to constantly contend with a very common shortcoming in performance: changes in dynamics encourage inexperienced performers to deviate from the tempo. When the sound rises, as a rule, the tempo accelerates, when it falls, it slows down. The same unlawful violations of tempo can be observed when alternating phrases that differ sharply in the nature of the music and texture. The conductor must constantly bring up proper rhythmic discipline in the orchestra. In rehearsal work, considerable attention should be paid to the quality of the sound, since often inexperienced orchestra players do not know how to control themselves. The conductor must carefully monitor good sound production, which depends on the correct angle of the pick in relation to the string. (For example, an unpleasant “open” sound may appear in a domra group.) Quite often, a poor-quality sound also occurs due to a weak pressing of the string to the fret. Some orchestra players who play bad tremolo can hardly move from string to string in cantilena places, and the conductor's task is to teach the orchestra to distinguish good sound from bad.
When working on a performance ensemble, it must be remembered that if the instrument leading the melody is poorly audible, you should not force it to play forcibly. This will also lead to poor sound quality. It is better to highlight the desired instrumental timbre by muting the instruments that overlap the solo voice.

Sometimes it happens that the orchestra players do not immediately understand the conductor's instructions or cannot fulfill his requirements due to technical complexity. Then the conductor, recalling the performing task, must repeat the musical phrase as many times as necessary. Otherwise, the musicians will feel that the conductor is not responding to the fact that the quality of the performance has remained the same. However, if the difficulty cannot be overcome and an independent study of the part is necessary, the conductor, having given the appropriate instruction, continues to work on the next section of the piece. There is no need to stop the performance due to small random errors of individual performers. It is possible with a gesture or a word to attract the attention * of the performer and correct the mistake without stopping the playing of the entire orchestra,
In the practice of rehearsals, there are times when, even if there are shortcomings in the performance, it is not recommended to resort to stops. Such situations arise, for example, if the performers are already tired. The conductor must feel the state of the orchestra and in such cases, how to play more music: give the members of the team the opportunity to enjoy the music, or, conversely, sometimes it is worth stopping the game and entertaining the orchestra with a joke, an interesting story about music, a composer, etc.
The rehearsal "should be structured in such a way that all groups of the orchestra participate in the work without long breaks, so that each performer is ready to join at any moment. If the leader stays too long at work with individual parts, this will discourage the rest of the participants.

After analyzing the play, careful work on the details, the final stage begins. It consists in polishing and bringing together individual details into a single whole, bringing the composition to the final tempo, developing the necessary ease and freedom in performance. The success of rehearsals largely depends on the conductor's ability to communicate with the team. Working with an orchestra requires adherence to principles, perseverance, exactingness and patience. Conductor's behavior during rehearsals should be an example for the performers - you should be smart, organized, collected. He should not show his annoyance, be nervous when something does not work out for a long time in the orchestra, and, moreover, insult the vanity of the participants. The head of the team must always be correct, demanding at rehearsals and simple, humane in communication outside of school hours. Here it is appropriate to quote famous conductor Bruno Walther, who spoke about this important side of the conductor's appearance in this way: “. The conductor himself does not create music, he does it with the help of others, whom he must be able to lead through gestures, words, and the influence of his personality. The result depends solely on his ability to lead people. Here, innate talent plays a decisive role - we are talking about the ability to assert one's will, the influence of one's individuality - and this trait should be developed by constant work, using everyday experience. A person without authority, devoid of dynamic volitional aspiration, cannot take a strong position, even if he has musical talent, ability and knowledge. With great skill he will be able to express himself, his feelings on the piano, on the violin, but he will never turn the orchestra into an instrument that obeys him.

Modern trends in the field of performance on Russian folk instruments are associated with the intensive development of ensemble music-making, with the functioning of various types of ensembles at philharmonics and palaces of culture, in various educational institutions. Hence the need for targeted training of the leaders of the respective ensembles in the departments and faculties of folk instruments of music schools and universities of the country.

However, the upbringing of an ensemble player in educational practice, as a rule, is associated with known limitations. Teachers are usually instructed to lead homogeneous ensembles: bayan players - bayan ensembles, domrists or balalaika players - ensembles of stringed plucked folk instruments. Compositions of this type are widely used in professional performance. Suffice it to recall such famous ensembles as the bayan trio A. Kuznetsov, Y. Popkov, A. Danilov, the bayan duet A. Shalaev - N. Krylov, the Ural bayan trio, the Kiev Philharmonic quartet, the Skaz ensemble, etc.

Undoubtedly, working with homogeneous ensembles - duets, trios, bayan quartets, trios, domra quartets and quintets, balalaika unisons, etc. - is very important. Nevertheless, the described limitations in the activities of teachers of schools and universities impede the full training of young specialists, because, in fact, graduates music schools very often faced with the need to lead mixed ensembles. Most often, the latter are string instruments and button accordion. Classes with such teams should become an integral part of the educational process.

Getting to work, a modern teacher is faced with inevitable difficulties: firstly, with an acute shortage of methodical literature dedicated to mixed ensembles of Russian folk instruments; secondly, with a limited number of repertoire collections, including interesting original compositions, transcriptions, transcriptions, proven by concert practice, and taking into account various levels preparation and creative directions of the indicated compositions. Most of the published methodological literature is addressed to chamber ensembles of an academic profile - with the participation of bowed piano instruments. The content of such publications requires significant adjustment, taking into account the specifics of folk ensemble music making (see, for example,).

This article characterizes the basic principles of working with a mixed quintet of Russian folk instruments. Wherein whole line practical advice and the recommendations below apply to other types of mixed ensembles.

The main problem solved in the process of working with these groups is to determine the optimal timbre, loudness-dynamic and stroke ratios of stringed instruments and button accordion (based on the mismatch of sound sources, sound production methods and different acoustic environments).

Timbres instruments are among the most striking means of expression in the arsenal of a mixed ensemble. From the diverse timbre relationships that arise in the process of performance, one can single out the autonomous characteristics of instruments (pure timbres) and combinations that occur when sounding together (mixed timbres). Clean timbres are usually used when one of the instruments is assigned a melodic solo.

It should be emphasized that the sound of any instrument incorporates many "internal" timbres. For strings, one should take into account the timbre “palette” of each string, which changes depending on the tessitura (it means the sound features of a certain section of the string), the discrepancy between the timbre at various points of contact with the string (pick or finger), the specifics of the material from which the pick is made (kapron , leather, plastic, etc.), as well as the corresponding potential of various performing techniques. Bayan has tessitura heterogeneity of timbres, their correlation on the right and left keyboards, timbre variation with the help of a certain level of pressure in the fur chamber and various ways valve opening, as well as loud changes.

To highlight the timbre of one of the stringed instruments - members of the ensemble - it is recommended to use register combinations, which are available in a modern ready-to-select multi-timbre button accordion. The timbre fusion of the button accordion with the accompaniment instruments is provided by one-voice and two-voice registers. “Emphasizing” the same bayan timbre, depending on the characteristics of the texture, is facilitated by any polyphonic combinations of registers, which, in combination with strings, provide the necessary timbre relief.

The ensemble is formed from students 10-14 years old, in the amount of 15-20 people. Also allowed are children of elementary grades who are making progress in mastering a special instrument and showing a desire to participate in the ensemble. Instruments included in this ensemble: button accordion, prima balalaika, bass domra; ocarina, recorder, cugicles; spoons, ratchet, rubel, triangle, kokoshnik, etc.
The head of this group must master the basic skills of playing all the instruments that make up the ensemble, as well as the skills of writing and reading orchestral scores.
When distributing students by instrument, it is necessary to take into account their abilities, desire, and temperament. Instruments such as button accordion, prima balalaika, bass balalaika, bass domra, as well as horn and zhaleyka are better for boys to master, and girls are more suitable for flute, ocarina, recorder and kugikly. Percussion instruments are mastered by students of the aesthetic department, since this group of instruments is very easy to learn and does not require extra classes. Diversity percussion instruments, a variety of colorful techniques for playing them, arouses interest in classes in the ensemble, even among students with different musical ability. These classes in a team of professional orientation for students of the aesthetic department create additional conditions for classes, concert performances, this stimulates the desire to make music, increases interest in folk musical creativity.
At the initial stage of learning a work, small-group classes (from 2 to 6 people) can be held, while uniting students playing homogeneous instruments (groups of balalaikas, button accordions, zhaleika, flutes), it is also allowed for a thorough and detailed analysis of parts individual work with a student. In the process of such a lesson, the teacher should introduce students to the instrument, the basics of landing, formation, and the basic techniques of the game. It is very important to pay special attention to the group of percussion instruments, as they are the rhythmic basis of the ensemble. For a group of percussion instruments, it is useful to work with exercises for mastering various rhythmic patterns.
After holding small-group rehearsals, the leader organizes consolidated rehearsals of the entire ensemble, in which all participants perform their parts. At the first consolidated rehearsals with the ensemble, it is recommended to start work with simple exercises for mastering the instruments, for example: exercises set out in large durations to work on smooth sound leading and balance in the ensemble, exercises that are not rhythmically complex using various strokes. From the very first rehearsals, attention should be paid to the correct execution of strokes, worked out in groups, achieving unity of performance. Exercises should also be selected separately for each instrument, aimed at studying a specific playing technique. For convenience, it is recommended to divide the works into small parts, most often these are periods, and designate them with numbers so that there is no confusion when working on a separate part of the play being studied.
In the process of each rehearsal, the leader must set certain goals and use different methods of work, based on the stage at which the work on piece of music.
Work on a piece of music must be divided into several stages: sight reading, analysis, work on difficult places, learning and concert performance. It is also necessary to remember the peculiarities of ensemble playing: the exact execution of techniques and strokes, rhythmic evenness, simultaneous sound capture, balance between instruments, or between a soloist and an ensemble.
In order to properly build the educational process, it is necessary to approach the choice of educational material with responsibility.
When choosing pieces, it is necessary to pay attention to their accessibility for students, interesting content and new playing techniques, it is also recommended to include a piece with a soloist in the program, thanks to which the skill of vocal and instrumental ensemble playing is developed. It is desirable to use works of different genres.
The repertoire list is not exhaustive. The manager can add folk treatments, works of different genres in their own arrangement.
On last year a short theoretical course on the history of performance on Russian folk instruments was introduced, for which 0.25 hours are allotted (this time can be changed at the discretion of the teacher).
An integral part in the upbringing of a full-fledged musician is a concert performance. Such events unite the team even more, instill a sense of responsibility in children.
This type of music making is interesting for children, it allows them to feel the spirit of Russian culture, love and respect their country.