Alekseev method of teaching the game on the button accordion to read. Methodical development: "Features of primary education in the button accordion class
For beginner accordionists, one of the problems is the ability to adapt to the instrument. Successful development technique is unthinkable without the correct choice of the student's seat, the installation of the instrument. Later in the process musical development students find each "their" fit, which is associated with their creative individuality. “Position of hands”, as well as the landing of the future musician, is formed in the process of getting used to the instrument.
This term is commonly understood as the movement of the hands, the variability of their various positions during the game. It is known that any action requires physical effort. It follows from this that the free state of the hand can be considered as such when, moving naturally along the keyboard, it finds comfortable positions with the help of fingers to perform artistic and technical tasks that are feasible for it. “The hand should experience physical pleasure and convenience during work, just as hearing should experience aesthetic pleasure all the time. (N. Medtner). Developing hand freedom is a complex process built on sensations. The student must “feel the hand well”, “feel the weight of the fingers”. The absence of such a feeling will lead to the tightness of the hand, and therefore it is necessary to lay the foundation for natural free game movements in the initial period of training. It is necessary to teach the child to find comfortable movements, listen to his feelings, learn to feel his fingers during the game.
The initial period of learning to play on musical instrument is, as you know, the most important and is considered as the foundation of knowledge and skills, which determines the further movement of the student along the path of mastering the instrument. This, in turn, imposes special requirements on the teacher, or rather, on his method of work, on the system of knowledge and skills transferred to the student. It is to the system, which means a certain range of theoretical knowledge and gaming skills in a strict logical sequence from simple to complex. 
Unlike violinists, vocalists, who spend many years on setting their hands, vocal apparatus, accordionists, at first glance, do quite a bit of staging. But the correct setting of the gaming machine at the initial stage of training is very important, because it determines the ability to express artistic intent in performance, avoid clamping the gaming machine, and as a result, give impetus to greater development and improvement of technical abilities. The staging of an accordionist consists of three components: seating, staging the instrument, and hand position.
When working on the fit, one should take into account the nature of the piece being performed, and the psychological characteristics, as well as the anatomical and physiological data of the musician, especially the student (height, length and structure of the arms, legs, body). In accordance with the age and physiology of each student, the instrument itself must be selected, i.e. accordion. The correct fit is such that the body is stable, does not restrict the movement of the hands, determines the composure of the musician, and creates an emotional mood.
The correct fit is the one that is comfortable and creates maximum freedom of action for the performer, the stability of the instrument. Of course, the rational installation of the instrument is not everything, but the accordion player and the instrument must be a single artistic organism. Thus, the whole body is involved in the performing movements of the accordionist: both the differentiated movement of both hands and breathing (during performance 3, you need to monitor the rhythm of breathing, because physical stress inevitably leads to a violation of the rhythm of breathing). Due to the design features, two movements are required to extract sound - pressing a key and guiding the fur. 
Each School of playing the button accordion, educational teaching aids they talk about the relationship between bellows and sound, its volume. But experience shows that there is a mistake among beginner accordionists when they try to achieve a greater sound by pressing the key strongly without the corresponding bellows, which leads to the enslavement of the playing device and affects the general psychological state of the body. For the correct organization of the gaming machine, we must keep this relationship in mind. The advantage of the button accordion is that the independence of the sound from the force of pressing the key saves the musician's strength.
The modern teaching methodology considers the production as a set of conditions for playing the button accordion. These include: seating, instrument placement, and hand positioning. In the methodological explanations of well-known schools, all three aspects of the production are described in sufficient detail. The authors of these schools write or illustrate with drawings that the button accordion should be slightly tilted forward, since such an installation of the instrument ensures the correct setting of the left hand, in which the 4th and 5th fingers are on the main row. The inclination of the upper part of the body of the instrument to the chest of the student, in their opinion, deprives him in the future of the opportunity to use the 5th finger of his left hand on the main and auxiliary rows.
But in the initial period of learning, as is known, one has to solve completely different tasks, for example, mastering the right keyboard, which is associated with the development of its speculative representation. Therefore, the installation of the instrument at the initial stage should be subordinated to the solution of these problems, and not to the future use of the 5th finger of the left hand. When it comes time to use it, the student will already be able to set the button accordion with a forward tilt, because by then he will have learned to tactilely find the right 4 keys. But when he is just starting to master the keyboard, he sometimes has to look at it, and for this he needs to install a button accordion with a certain inclination of the upper part of the body to the chest.
This temporary digression will not interfere with the use of the 5th finger of the left hand on the main and auxiliary rows in due time. The swimming coach uses life-saving equipment during the period primary education, knowing that he would abandon them when they would only get in the way. Therefore, any temporary digression is possible if it is useful, and in this case even necessary, since it frees the student from artificially created difficulties and, consequently, contributes to a faster mastery of the keyboard. It can be argued that the teacher is obliged to coordinate the movements of the student's fingers on the keyboard, thereby helping him develop a tactile way to hit the keys in the desired sequence. Yes, this is true, but the teacher can only do this twice a week, and the rest of the time the student is engaged on his own and is deprived of the help of a mentor. 
And since he is in the position of being in control of himself, why not let him peek at the keyboard? You just need to be careful that this peeping does not turn into a habit of looking constantly. About the setting of the hands, the following should be added. As a rule, almost all beginner accordionists try to hold the neck with their right hand while squeezing the bellows, which can lead to negative consequences if you do not pay attention to it in time. Most often, the reason for this is the large shoulder straps of the button accordion, on which the student practices at home. Therefore, it is necessary to take measures in advance to exclude any kind of interference, the elimination of the consequences of which only slows down the learning process and overloads the student's attention.
In this case, one must proceed from the position that there is no fixed setting of the right hand (even in positions) at all, except for its natural state during the game (in the 5th dynamics). This means that the hand is in a position that eliminates the bend in the wrist joint as a necessary condition for the freedom and natural movement of the fingers and hand at any moment and in any direction.
The latter, in turn, depends, firstly, on the fingering (how logical it is, that is, convenient); secondly, from the correct coordination of the movements of the fingers and the movements of the hand, and if necessary, of the whole hand; thirdly, from the maximum use of the possibilities of changing tension and relaxing muscles; fourthly, on the coincidence of the speed of the game and the possible speed of the student's thinking (that is, how easily and freely the student can imagine and control his actions at a given pace).
There are practically no other factors leading to stiffness and clamping of the performing apparatus (if we do not take into account, for example, physical fatigue, especially of the left hand). These factors, of course, are closely interrelated, and dividing them into main and secondary ones does not make sense at all. Another thing is the selection of the leader. In our opinion, the fourth factor is such a factor, since the reliability of control of actions and, as a result, the accuracy of execution depend on it.
You can control wrong fingering or wrong coordination, but you cannot act correctly without control, unconsciously. In this case, we mean the principle of the unity of consciousness and activity, formulated by psychologists. Violation of this unity leads to disruption of activity. If the student acts faster than he can imagine and fully control this action, then stiffness appears and, as a result, tightness. That is, the ease and freedom of action at a certain pace is a consequence of the ease and freedom of thinking (consciousness).
An unbearable pace gives rise to stiffness in consciousness, in mental activity (internal stiffness), which, in turn, 6 causes stiffness of the performing apparatus (external stiffness), and as a result, tightness. In this regard, the process of changing tension and relaxing muscles also requires special attention, because the state of the performing apparatus also depends on this. Psychologists have established that the mere intention (imagination) to make this or that movement already causes muscle tension, although imperceptible to the person himself. Therefore, when playing the button accordion, the tension of the muscles involved in certain movements is a natural and necessary consequence.
But it is also known that constant muscle tension leads to fatigue. Moreover, the cessation of movements (for example, during a short pause) does not release the muscles from tension. The secret lies in the fact that the attention of the player immediately focuses on the representation of the following movements, which are carried out with the participation of the same muscles. This is the reason for the constant tension leading to stiffness and pinching.
Therefore, in order to free the muscles from tension, it is necessary to switch the attention of the player to imagining a movement that would cause tension in completely different muscles, giving a short "breath" to tense muscles. Such a movement can be, for example, removing the fingers from the keyboard along with the hand by moving the forearm with an external bend in the wrist (the hand, and then the relaxed fingers, seem to follow the forearm). Thus, the periodic release of the muscles protects them from constant tension, and, consequently, from stiffness and constriction.
To carry out such movements, you can use a pause, a caesura between phrases, etc. That is, the phrasing of a piece of music determines the “phrasing” of the muscles (alternating tension and relaxation) or, in other words, the “breathing” of the muscles should be a reflection of the “breathing” of the music being performed plays.
In conclusion, it should be emphasized that the demands on the student, proceeding from the final goal without taking into account the gradual approach to it, are not always justified (and often turn out to be even harmful). Therefore, there is no need to demand everything at once, although in a sense this is true. Everything is what is needed for this stage of training. Indeed, in the initial period of learning to play the button accordion, the main thing for the teacher should not be the performance of the student, but the correct formation and consolidation of performing skills - individual movements, techniques, actions, etc., and a solid assimilation of the theoretical knowledge necessary for this.
Z. F. Denkova
http://as-sol.net/
RECOMMENDED READING
Akimov Y. "Some problems of the theory of accordion performance". ed. Soviet composer. M. 1980
Alekseev A. Methods of teaching to play the piano. M. 1981
Methodological collection "Bayan and accordionists". Issue. No. 1, No. 5.
Questions of professional education of an accordion player. M. 1980
Barenboim L. "The Way to Making Music". L. 1979
Shatkovsky G. Magnetic recording of a speech at a seminar for music school teachers in Angarsk. January 5-9, 1978
Pankov O. On the work of an accordionist on rhythm. M. 1986
Questions of musical pedagogy. Issue. 6.
Teplov M. Psychology of individual differences. M. 1985
READY-ELECTIVE BAYAN IN THE INITIAL PERIOD OF TRAINING
Despite the obvious progressiveness of the invention of the elective keyboard, the elective button accordion fought its way into life with great difficulty. In heated disputes between the “old” and the “new”, not only truths were born, but also errors.
“Most of them play either two-row or ready-made button accordions. At present, it is time to leave both of them and move on to playing elective button accordions, since only they are suitable for transmitting musical works without any distortion, with all the features with which the musical work came out of the hands of the composer, ”wrote the chairman of the section State. Institute of Musical Science Professor A. Rozhdestvensky in 1929. "Old" long time did not want to give in to the "new".
“Mastering the technique of playing on the left keyboard of the elective button accordion presents significant difficulties, therefore the elective button accordion has not received wide distribution,” Az writes. Ivanov in "The Beginning Course of Playing the Bayan" (Publishing House "Music", L. 1967).
Two extremes are obvious here, since on the one hand, it was impossible to ignore the invention, which opens up great prospects for bayan players; on the other hand, it was impossible not to take into account that the finished button accordion had already gained great popularity among the people by that time, had qualified teachers, performers, special methodological literature and an original repertoire. In this regard, the masters found a compromise version of the instrument - a ready-made button accordion.
However, the future of the button accordion with ready-made chords was in doubt. S. Chapkiy writes: “Actually, an elective-ready instrument in the future will, in all likelihood, become a purely elective button accordion, free from elements of a finished button accordion, switches, complications that burden the instrument and the technique of playing it and slow down the process of transition of musical and performing culture to a higher level” (S. Chapkiy, “School of playing the elective accordion”, Kiev, 1977, p. 5).
It turns out that if earlier an elective keyboard was a brake on performance improvement, now a ready-made button accordion has become an obstacle to the development of performance.
At present, no one doubts the availability of technical means of an elective keyboard, because the era of an elective button accordion in music schools has long begun.
The disputes subsided over time and now, the published educational and methodological material is presented in the calculation of the study elective accordion.
This is correct for two reasons:
There is still the problem of the original repertoire for the choice button accordion. Bayanists widely use transcriptions of compositions for pianoforte, organ, etc., however, it is quite natural that the basis of the repertoire of any instrument should be not transcriptions and transcriptions, but original compositions. Especially acute is the problem of the original educational repertoire in music schools. The ready - elective button accordion has more stimulating opportunities for creating original compositions.
In the context of a repertoire deficit, it is simply inappropriate to talk about a ready-made button accordion from the point of view of its shortcomings. It is also necessary to take into account the fact that the button accordion is a folk instrument, it is not only a soloist, but also an accompanist, a variety and everyday instrument, so a keyboard with ready-made chords is indispensable here.
Another question: when should you start learning on the selective keyboard?
The modern methodology does not exclude the expediency of studying the elective button accordion at the initial stage of training. However, according to A. Onegin, this work "requires a preliminary study of the basics of playing the instrument and the acquisition of certain musical and theoretical knowledge." (A. Onegin. “School of playing on a ready-to-choose button accordion”. Publishing house “Music”, M. 1979, p. 90).
“The finished button accordion is the main instrument in the initial period,” A. Surkov argued (Coll. “Bayan and accordion players”, Issue 2. M. 1974, p. 48). In his "Manual for elementary learning on the ready-made button accordion" he wrote, apparently with an orientation towards future professionals: with the program. (M. 1973, p. 3).
In relatively new publications (for example, by V. Nakapkin), it is proposed to extract the first sounds on the right keyboard, and then the same musical material perform with the left hand elective keyboard.
"School" P. Govorushko opens with pieces for button accordion with an elective scale; “the study of standard accompaniment is advisable to begin as soon as the student is preparatory to mastering musical notation in the bass clef” (P. 2).
G. Stativkin also suggests starting with exercises to extract individual sounds in the right keyboard, then the same music. material (like that of V. Nakapkin) to use to study the selective button accordion keyboard. One detail in G. Stativkin attracts special attention. An exercise is performed with the right hand (to extract individual sounds) “with the passive movement of the fur”, i.e. without the participation of the left hand, only using the weight of the left semi-body of the button accordion (p. 11).
Back in 1978, V. Semyonov wrote that new trends were emerging in the development of the selective keyboard during the period of primary education, but “immediately after mastering the right keyboard” (Coll. “Bayan and Bayanists” Issue 4. P. 43). It is difficult to understand the author here, because in the same work above we read: “The “delimitation” of the bellows from the work of the fingers on the selective keyboard is of particular importance. Difficulties in the game often come from the inability to operate different groups of muscles of the hands to a sufficient degree independently of each other. (Ibid., p. 77).
If “delimitation” takes on special significance, then you should start classes from the left hand, so that there is no big overload of the child’s attention from the multifunctionality of the muscles of both hands, because when playing with one right hand on the button accordion, both hands are involved.
G. Stativkin takes this circumstance into account and therefore proposes to first focus on one right hand during the passive movement of the fur. This is where the state of passivity confuses, i.e. the actual unmanageability of the sound. How, in this case, to be with the "formation of the initial musical and artistic auditory ideas, on what, in fact, is based "Primary education ..." from the author himself?
Many still in 1974 the work of B. Egorov. " General Basics staging when learning to play the button accordion ”convinced of the need to start learning from the left hand, because. "along with playing your part... the most important function of the left hand is to control the movement of the bellows... This requires the most careful attention to the setting of the left hand." (Sat. “Bayan and accordion players”. Issue 2, p. 34).
If so, isn't it easier to start classes, directly from the selectable keyboard?
You should also not put off studying the keyboard with ready-made chords for a long time, because. “this deprives the student of access to a truly button accordion repertoire, reduces interest in amateur music-making. (P. Govorushko. "School of the game ...", p. 2).
It should be added to this that the question of the dosage of educational material for the ready-made and elective button accordion in primary education should be considered by the teacher on the basis of the dialectical unity of the keyboards, and not from the point of view of their separation.
LIST
Akimov Y. "Some problems of the theory of accordion performance". M. 1980
Barenboim L. "The Way to Making Music". L. 1970
Ivanov Az. "Introductory Course in Playing the Bayan". Ed. "Music" L. 1967
Chapkiy S. "School of playing the elective button accordion." Kyiv. 1977
Lips F. "Let's talk about the button accordion." Journal "Musical Life" No. 13, 1976
Onegin A. "School of playing on a ready-to-select button accordion." Ed. "Music". M. 1979
Surkov A. "A manual for primary education on a ready-to-select button accordion." Ed. "Soviet composer". M. 1973
Akimov Yu. "School of playing the ready-to-choose button accordion." Ed. "Soviet composer". M. 1977
Shulpyakov O. "Technical development of the musician-performer". Ed. "Music". M. 1973
Savshinsky S. "The pianist's work on technique." Ed. "Music". L. 1968
Zach Y. “Articles. Materials. Memories". M. 1978
Belyakov V., Stativkin G. "Fingering of the ready-to-select button accordion." M. 1978
Govorushko P. « Primary School bayan games. L. 1988
Nakapkin V. "School of playing the ready-to-choose button accordion." M. 1985
Stativkin G. "Initial training on an elective-ready button accordion." M. 1989
Methodical Sat. “Bayan and Bayanists” No. 1 - 6. 1970 - 1984
FINGERING
IN THE INITIAL PERIOD OF TRAINING
Is the five-finger fingering system, called "positional", applicable in the initial period of training?
The issue of fingering on the button accordion, one way or another, affects many issues of the technology of button accordion performance, including the setting of a gaming device.
N. Rizol rightly believes that at this stage in the development of button accordion technology, both four and five-fingered instruments have the right to life.
fingering system, but not everyone agrees with him that the setting for each of the systems should be different.
For example, V. Semyonov says that from the first lessons he held a five-row button accordion in his hands, so he did not know the problem - what setting and fingering to play.
A. Dmitriev, known for his impeccable technique of performance, already being a student at the conservatory, retrained for the five-finger system and believes that it makes no sense to master both systems.
In teaching aids, you can read that the finger behind the fingerboard is the player's "fulcrum", a "landmark". At the same time, in practice, many modern bayan players calmly do without this “landmark” and “fulcrum”, relying with their whole brush on the neck, while brilliantly demonstrating the magnificent technical capabilities of the button accordion.
S. Chapkiy writes: “The thumb behind the neck is “the fulcrum of the player, without which accurate and clear playing is unthinkable.” (S. Chapkiy. "School of playing the elective button accordion." Kyiv, 1980).
It can be noted with irony that everyone who now does without this “peculiar guide” is associated with “evil spirits”.
Contradictions sometimes arise on the pages of the manual of one author.
In 1980, Y. Akimov's “School of Bayan Playing” was published, in which on page 19 we read that when the thumb is moved out from behind the neck, “the contact of the hand with the keys is disturbed, ... the right hand is turned off from the process of controlling the fur position tool becomes less stable. And suddenly, on the same page, “the use of the first finger contributes to the development of the accordion player’s technique”!!!
Many accordion teachers write about the inexpediency of using the thumb in the initial period of training. In particular, N. Rizol: “As experience shows, to use the thumb in grades 1-2, when the student has not yet acquired keyboard orientation skills, when the button accordion is still not so firmly on his knees, when, working with fur, the student loses the keys - to use the thumb at this stage would be premature ”(N. Rizol. “Principles of using the five-finger fingering on the button accordion”, M. 1977, p. 229).
Why, then, in the educational and methodological literature for the accordion, in the methodological sections on landing and setting, is nowhere mentioned the thumb of the right hand, which performs the function of supporting the instrument, and what does the work with fur, which is actually performed by the left hand, have to do with it?
P. Gvozdev called the four-finger production "natural button accordion". This is easy to doubt. “Nature, whose pedigree goes back centuries, has preserved a number of innate and extremely inert mechanisms that are extremely harmful in the development of playing technology. One of them is a grasping reflex ”(O. Shulpyakov. “Technical development of a performing musician”, M. 1973, p. 39). It is this reflex that works very often when a student first extracts a sound using a “natural button accordion” setting. As a result of further work, the child acquires a number of subconscious skills that are easily automated, but are not easily realized, and “to get rid of them, special and, moreover, hard work is needed. (S. Savshinsky. "The pianist's work on technique." L. 1968, p. 67). But, in childhood, the main way of acquiring skills is subconscious, so altering the position of the hands is fraught with great difficulties.
The history of musical pedagogy knows many examples when a lot of things were asserted that were in conflict with elementary anatomical and physiological norms. For example, the elbow extended to the limit to the right among violinists from the 18th century to the middle of the 20th century. To some extent, this is justified by the fact that the methods of educating technology were groped in the process of practice empirically, without relying on the natural sciences (physiology, for example), because these sciences themselves were poorly developed.
Bayanists began to receive professional musical education relatively recently. The self-taught, or as they were called "nuggets", could have only a faint idea of the psycho-physiological nature of play movements.
Isn't history repeating itself for bayan players in our time?
Now there are more and more bayan players who base their performance technique on a five-finger setting using all the possibilities of the natural weight of the hand, which are largely limited by the thumb behind the neck. Due to the arrangement of keyboards on the button accordion in a vertical plane, the problem of using natural
hand weight and contact with keyboards has not been studied enough, but it "has long been solved by well-known bayan players, and our task is to delve into the technology they use and use it in working with students." (Methodological collection “Bayan and accordionists”, issue 2, p. 29).
So is “positional” fingering applicable in the initial period of training?
The concept of "position" V. Belyakov and G. Stativkin take from the practice of playing stringed instruments: "this is the position on one or another part of the keyboard." (V. Belyankov and G. Stativkin. "Fingering of a ready-to-select button accordion" M. 1978).
As applied to the button accordion, this formulation is not entirely accurate, because, unlike stringed instruments, the button accordion has keys, each of which must be “know” by a certain finger in any position of the hand on the keyboard. Here, the definition of N. Rizol is more suitable: “The bayan position should be understood as certain positions of the hand, allowing embrace a group of notes (keys) so that each of the fingers remains in place (N. Rizol. "Principles ..." p. 199).
This definition contains the whole practical meaning of "positional" playing on the button accordion:
It (“positional” game) makes it possible to memorize individual musical patterns.
“Expands the sphere of activity of automatism, which underlies the performing technique” (Ibid., p. 54).
There are more opportunities to choose a rational and artistically justified fingering.
It has a beneficial effect on the education of fingering discipline, which is acquired not in numbers over notes, but in the child’s thoughts on the placement of fingers, as on a kind of “instrumentation” of a work. (J. Zach. Articles. M. 1980, p. 39).
There are other difficulties, due to which most of the teaching aids are presented as the main - four-finger system of the game, with occasional use of the first finger.
G. Stativkin (and he is not alone) considers it expedient to immediately form a modern style of performance. Here is his version of the initial moment of sound extraction: “On the right keyboard, sounds are extracted by simultaneously pressing the thumb and middle finger (first + middle). The children aptly called this technique “beak play”. The proposed method of sound production, in contrast to playing only with the second or third finger, creates a more stable support and, most importantly, perfectly forms the student's hand. As a result, the correct setting of the right hand is achieved
in the simplest and most natural way. (G. Stativkin. Manual ... p. 13). And then it turns out that within the same position (without laying and shifting) you can learn a lot (in terms of sound production) and play a lot of good music (see "Music Application").
The ease of mastering the material with the help of “positional” play allows the student already in the 2nd or 3rd grade to limit himself to rare fingering instructions, and by the 4th - 5th grade he can do without numbers in the musical text. Of course, it is always useful to discuss any fingering problems with the teacher, but the need for petty care disappears by itself.
Using "positional" fingering, it is easier to transpose and read from the sheet, and what makes it especially attractive in the initial period of learning is the possibility of mastering the simplest types of improvisation.
And, finally, in order not to create, although temporary, but a serious psychological obstacle to mastering the five-finger fingering and setting, Y. Yastrebov recommends listening to the following opinion: “For those who, from the first sounds on the accordion, form the skills of interaction of all fingers, the question of application the thumb, perhaps, does not stand up in its entirety in comparison with those who introduce it into the game, having already sufficient experience in performing a four-finger production.
If for the former, the methods of using the thumb on the keyboard are the basics, a self-evident action, then for the latter it is sometimes an insurmountable obstacle that remains a “thing in itself” for many years (Yu. , p. 88).
All of the above is not a recommendation for action, everyone has the right to agree or disagree with something. Currently, the five-finger version is undergoing "laboratory tests" and it is very important "that as many performers and teachers as possible participate in these tests." (N. Rizol. "Principles ..." p. 216).
RECOMMENDED READING
Rizol N. "Principles of using the five-finger fingering on the button accordion." Ed. "Soviet composer". M. 1974
Chapkiy S. "School of playing the elective button accordion" Kyiv. 1980
Semenov V. "Modern school of accordion playing". M. 2003
Akimov Yu. "School of playing the button accordion." M. 1980
Shulpyakov O. "Technical development of the musician-performer". M. 1973
Savshinsky S. "The pianist's work on technique" L. 1968
Belyakov V. and Stativkin G. "Fingering of the ready-to-choose button accordion." M. 1978
Zak I. Articles. M. 1980
Methodological collection "Bayan and accordionists". Issue. 2. M. 1974
game in one
positions: 1,2,3 fingers
game in one
positions: 1, 2, 3, 4 fingers
game in one
positions: 1, 2, 3, 4, 5 fingers
Introduction……………………………………………………..3
Three main methods…………………………….……………4
Musical abilities and their development…………………... 8
Ready-to-elect button accordion in the initial period of study ...... 15
Fingering in the initial period of training……………....19
Musical appendix to the chapter “Fingering”……………….23
Specificity of sound extraction on bayan and accordion.
MBOU DOD DSHI village of Barda
Bayan teacher Nazarova Elvira Saitovna
Plan
Introduction
Sound extraction technique
Dynamics.
thinning.
Strokes and techniques of playing the button accordion.
Types of touch and mechanization.
Conclusion
Introduction
Compared to piano, organ or instruments symphony orchestra, button accordion and accordion are young instruments.
Every year, the features of academicism begin to appear more and more clearly in the performance of the button accordion and accordion. This movement is not a departure from national traditions, not a rejection of the past button accordion and accordion. What we are seeing today is a logical continuation of what was done by talented performers, teachers, composers, designers during the 20s - 30s and, especially, the 50s - 90s. This previously unprecedented activity of enthusiasts radically changed the button accordion and the accordion and the idea of it in the shortest possible time.
It is not surprising that today the button accordion and accordion are also a mass instrument. folk culture, pop, and folk (folklore), and academic instrument.
To a certain extent, another approach is possible in determining the directions of development of the button accordion and accordion. In this case, there will be three of them: folklore, pop and academic, when the use of the button accordion and accordion in folk art oral tradition.
With particular speed, the process of academization of the button accordion took place in the 50s. First of all, this is due to the emergence of the highest degree of education for musicians of this specialty: the opening in 1948 of the Department of Folk Instruments at the Gnessin Moscow State Museum of Musical Pedagogical Institute, and later the creation of a whole network of universities where bayanists and accordionists studied.
It was not accidental, but quite natural at the same time that the thinking of performers, conductors, and teachers reached a qualitatively new, higher level. In a relatively short period of time, "breakthroughs" occurred in the field of pedagogical, methodological thought, the repertoire changed fundamentally, and solo performance took an unprecedented step forward. At the same time, one of the most important issues in the development and formation of each musical instrument - the issue of sound extraction - could not be solved with sufficient completeness. Many outstanding bayan players (for example, I. Ya. Panitsky, P. L. Gvozdev, S. M. Kolobkov, A. V. Sklyarov and others) intuitively solved this problem in their work. Many researchers (B. M. Egorov) made discoveries in the field of methodological thought.
However, not merged together, the achievements of performance and the theory of radical changes could not give: steadily increasing, the level
training of the bulk of bayan players (young students) in the field of sound extraction technology and today still does not meet the requirements of academicism.
Sound extraction technique
Sound is the main means of expression. For highly skilled musicians, even simple, technically uncomplicated works sound extremely attractive. This is the result of a great work on the culture of sound.
The work on the sound is varied and specific to each instrument. So, for example, it is easy to mill the sound on the button accordion and accordion, since the instruments have a large supply of air in the bellows, but on these instruments there is no way to distinguish chord sounds of different strength.
Work on sound consists in mastering the timbre, dynamics, strokes.
Changing the timbre on button accordions and accordions is carried out using registers. If they are not there, work on the sound comes down to mastering the dynamic and dashed subtleties. They also form part of the technical means of musical performance, no less important than such technical elements as fluency, chord technique, jumps, etc.
When performing cantilena works, it is necessary to strive as much as possible, to bring the sound of the button accordion and accordion closer to singing, to the human voice.
Dynamics
Dynamics is the change in the strength of sound. It is imperative for the performer to develop the ability to feel both gradual and abrupt changes in the strength of the sound. Working on the dynamics, in parallel, one should develop the habit of pressing the keys with the same force, both on the forte and on the piano. Many bayan and accordionists, when playing forte, instinctively press the key with more force than the resistance of the spring requires, and this restricts the freedom of movement of the hand and prevents the fluency of the fingers.
Before you start working on exercises in dynamics, you need to carefully study the scope of dynamic possibilities (dynamic scale) of your instrument, that is, its sound from the most gentle pianissimo to the maximum fortissimo. It is important that throughout the entire dynamic scale the timbre of the sound does not lose its brilliance. If you demand from an instrument such a forte, for which the sound is not designed, it will begin to detonate, and lose its characteristic sound - timbre. Therefore, it is necessary that the student knows the maximum fortissimo for his instrument, at which the sound does not detonate, as well as the maximum pianissimo, at which the instrument would respond.
Simultaneously with the development of auditory sensation, it is necessary to develop a sense of the power with which the left hand should work with fur. It is impossible to accurately calculate with what force it should compress or stretch the fur on the border between detonation and pure fortissimo sound, as well as at the moment of the most delicate pianissimo. Therefore, it is necessary to leave a dynamic margin, in other words, a spare dynamic shade from the side of the minimum and from the side of the maximum sound. The working dynamic scale of the instrument should start with a slight deviation from the limiting pianissimo and end a little short of the limiting fortissimo.
Let us conditionally denote the limiting pianissimo for a given instrument with ppp, and the limiting fortissimo, at which the instrument does not detonate, with fff. These extreme spare shades in the dynamic scale (pp and fff) seem to warn against using such pianissimo when the instrument cannot sound, and such fortissimo when the instrument begins to detonate. A student who has already acquired a sense of the beginning and end of a working dynamic scale should begin to develop a sense of the three main dynamic shades - piano, mezzo-forte, forte. It is recommended to do this first on a separate sound, then on a chord. Once the student has mastered this skill, it is necessary to reinforce it by playing scales with both hands in unison or double notes separately, first piano, then mezzo-forte, and finally forte.
This skill can be even better reinforced if, after such exercises, scales are played at mixed strength. You can do this, for example, like this: play the piano four sounds for unclenching and four for squeezing, the next four sounds for unclenching and four for squeezing, perform mezzo-forte, then for squeezing and unclenching-forte. In the future, during exercises, one should try to vary the comparison of dynamics in one scale as much as possible in order to acquire the skill of auditory sensation of dynamic shades and their forceful sensation in the left hand.
Mixed dynamics exercises are very helpful in acquiring the skill of uniformly pressing the fingers of the right hand on the keyboard when changing dynamics. When performing them, it is necessary to control the force of finger pressure.
In addition to the main dynamic shades, the dynamic scale also has intermediate ones: pianissimo, mezzo-piano, fortissimo.
So, the entire dynamic scale, including spare shades, consists of eight steps: prr, pianissimo, piano, mezzo - piano, mezzo - forte, forte, fortissimo, fff. The lower step will be the pianissimo stock (ppr), the upper step will be the fortissimo stock (fff). Each of these steps must be carefully worked out in the student's auditory perception.
In order to acquire the skill of feeling the force with which the hand pulls the bellows at each dynamic step, the dynamic scale should be worked out sequentially in ascending order - from pianissimo to fortissimo, and then in descending order - from fortissimo to pianissimo, and also in various options. The feeling of dynamic steps is fixed better if distant dynamic steps are compared in the exercises. If, for example, it is given to play fortissimo and fff (dynamic reserve). If you are asked to play mezzo - forte, mezzo - piano and piano, you need to check if pianissimo and prr (reserve) are left in the instrument. If you are given to play fortissimo and piano, you should check whether mezzo-piano, mezzo-forte and forte will fit in this dynamic gap.
thinning
Simultaneously with the assimilation of the dynamic scale, one must work on the thinning of individual sounds, double notes and chords. Thinning is the combination of a crescendo with a diminuendo on one note or group of notes. On the button accordion and accordion, this technique is not difficult, since a large supply of air in the instrument allows you to mill notes from the finest pianissimo to fortissimo, and vice versa, several times in a row, without even changing the direction of the bellows. You must first learn thinning on a separate sound or chord. You can, for example, take a sound up to half the duration in moderate pace. The first quarter is to perform a crescendo from piano to mezzo forte, the second quarter is a diminuendo from mezzo forte to piano. In the same way, thinning is performed from mezzo-forte to forte and vice versa.
The next exercise is to mill a whole note from piano to forte. In this case, it is divided into four fused quarters. On the first quarter, they make a crescendo from piano yes mezzo-forte, on the second - from mezzo-forte to forte, on the third and fourth quarters - diminuendo from forte to mezzo-forte and from mezzo-forte to piano.
Having learned how to mill a long note and chord, they move on to thinning the scales. A group of notes specified in the scale can be milled both when the bellows moves in one direction, and on a combination of squeezing and unclenching.
Let's say you need to play six notes on fur with thinning from piano to forte. This task can be performed as follows: the first note is played by the piano, the second by mezzo-forte, the third by forte, the fourth by forte, the fifth by mezzo-forte, the sixth by piano. The crescendo goes from the first note to the third, on the third and fourth notes it is fixed at a given strength, and from the fourth there is a diminuendo, which ends on the last, sixth note.
If a given phrase of six notes needs to be profiled from piano to forte by squeezing and unclenching the bellows, the bellows change after the third note.
Having learned to mill on the main dynamic shades, they move on to mastering the milling on the entire dynamic scale, including intermediate shades.
The teacher must also teach the student to perform crescendos and diminuendo from any dynamic step, checking the correctness of the end of the crescendo and diminuendo with the extreme steps of pianissimo and fortissimo.
Strokes and tricks of the game. Types of touch and mechanization.
The most important issue of interpretation of the category "touches" - through the efforts of B. M. Egorov (partly F. R. Lips and others) has been convincingly developed and largely contributes to the emergence of new, promising ideas.
Let me remind you of the formulations of B. M. Egorov and F. R. Lips. According to Egorov: “Strokes are characteristic forms of sounds obtained by appropriate articulation techniques, depending on the intonational and semantic content piece of music. In Lips: “A stroke is the character of sounding due to a specific figurative content, resulting from a certain articulation.”
P. A. Gvozdev in his work for the first time systematically outlined the types of button accordion touch and mechanical science. B. M. Egorov supplemented and clarified them.
Types of touches and removals.
Pressing - releasing.
Push - removal.
Impact - rebound.
Sliding - breakdown.
Methods of conducting fur.
Accelerated.
Slow.
Fur snatch.
Tremolo fur.
Dotted guide.
“The most important theoretical generalization of practical performance experience is the method of incomplete (partial) opening of the valve recommended by P. Gvozdev for various types of touches. Its essence lies in the fact that the zone of influence of the touch on the characteristic of the stationary part of the sound will be in the range from the maximum - the full opening of the valve (the finger presses, hits, pushes the key all the way), to the minimum - the smallest level of opening (lift) of the valve (finger presses, strikes, pushes the key by a small part of the full amplitude of the stroke of the keyboard lever).
In the zone of this technique there are dozens of intermediate gradations, we also meet a brief mention of this technique in another well-known accordion player and teacher N. Rizol.
Considering the theme of strokes on the button accordion and accordion, playing techniques, types of touch and mechanical science, the authors see the need for at least a brief reflection on some objective and subjective factors in performance. This is necessary for a specific and accurate understanding of the purely technical tasks facing the bayanist and accordionist.
Conclusion
Finishing the text part of the work, I by no means believe that all the questions put on the pages have been resolved exhaustively. Treating this topic with all seriousness, I clearly understand the degree of complexity of the work that performing musicians carry out, but which can be completed only by the efforts of many, many accordionists, teachers and, of course, young students.
Certain topics are touched upon in the work only partially, others - very briefly: the desire to focus on the main problems in sound production on the button accordion, accordion did not allow me to expand its volume.
Literature
I. Alekseev "Methods of teaching playing the button accordion." Moscow 1980
F. Lips "The Art of Playing the Bayan". Moscow 1985
V. Pukhnovsky "School of mechanical science and articulation for the accordion". Krakow 1964
B. Egorov "On the question of systematization of accordion touches." Moscow 1984
B. Egorov "General principles of staging when learning to play the button accordion." Moscow 1974
A. Krupin, A. I. Romanov "Theory and practice of sound extraction on the button accordion." Novosibirsk 1995
A. Krupin "Issues of musical pedagogy". Leningrad 1985
M. Imkhanitsky "New about articulation and touches on the button accordion." Moscow 1997
M. Oberyukhtin "Problems of performance on the button accordion". Moscow 1989
V. Zavyalov "Bayan and issues of pedagogy." Moscow 1971
V. Motov "On some methods of sound production of playing the button accordion." Moscow 1980
A. Sudarikov "Performing technique of bayan player". Moscow 1986
However, it is necessary to immediately note that the performance by the teacher in the class of the compositions being studied is by no means always useful. Too frequent performance or obligatory playing of each new piece can slow down the development of the student's initiative. It is necessary to take into account exactly how and during what period of work on the composition it is useful for the student to play it.
The question of how to play in the classroom can be answered in a general way: perhaps better. good performance enrich the student with vivid artistic impressions and serve as an incentive for further independent work. When playing a student, however, it is necessary to always take into account his capabilities.
The performance of the work before the start of work takes place mainly in the children's school and, moreover, in the lower grades. This is often of great benefit, since it is sometimes difficult for a child to understand certain compositions on his own, and studying them without prior acquaintance proceeds slowly and sluggishly. Nevertheless, even in the lower grades, one should not use this method of work exclusively. From the very first steps of learning, it is necessary to give students systematic tasks for self-acquaintance with the work in order to develop their initiative. Gradually, the number of such tasks should increase, and the preliminary execution by the teacher should become an exception. In high school, and even more so in college, it should almost never take place.
Along with the performance of the work as a whole, teachers often play it in fragments, this is especially useful in the process of working with a student at the middle stage of studying the work.
e) TASK AND MARK
You must be sure that the student clearly understands not only the amount of material to be learned, but also the nature of working with it. To this end, and also to fix in the child's memory the most significant of what was said to him, it is useful to ask appropriate questions at the end of the lesson. Diary entries serve the same purpose. Some teachers, when working with kids, write in large letters so that the child can read the task himself, this teaches from the first steps to greater independence and helps to improve the quality of homework.
Given the great educational value marks, the teacher must be sure that the student understands why he received a particular score.
3. CONCLUSION
The teacher is obliged to show constant attention to how the student allocates time, how fruitful homework is. He must develop his initiative, independent work skills, must have a constant desire to enliven the lesson, interest the student, awaken his activity in everyday work.
Summing up all of the above, the teacher must realize that the realization of the wide possibilities of the button accordion can be carried out only by persistently overcoming artistic and technical difficulties. Therefore, in its practical activities it should direct attention to the all-round development of the student's technical skills simultaneously with the development of his musical ability.
4. USED LITERATURE:
1. Alekseev I.D. Methods of teaching playing the button accordion. M.: 1960.
2. Medushevsky V. V., Ochakovskaya O. O. Encyclopedic Dictionary young musician. M.: Pedagogy, 1985.
3.Rakhimov R.R. Kurai. Ufa, "Kitap" 1999.
4. Suleimanov G.Z. Kurai. Ufa, 1985.
5. Notes on the "Methodology".
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Municipal institution of additional education for children
Children's Art School
Essay
Learning Featuresniya children 5-6 years old playing the button accordion
R.R. Sagitdinov
With. Ferchampenoise
INTRODUCTION
At present, in many children's art schools there are aesthetic departments, in which children attending kindergarten and children studying in primary school general education school. Most often, they are given classes in rhythm, chorus, fine arts and piano.
Currently, teachers are faced with the problem of teaching children aged 5-6 years on the button accordion. This is due to the desire of parents to start learning on folk instruments.
Parents bringing their child to music school, serve different purposes. Some of them, feeling its developing power in music, hope that the child, having become accustomed to music, will become more collected and attentive, that classes will help his general development. Others want to make art future profession baby and require in-depth training in the professional use of the instrument. The third, most numerous category of parents want the development of different aspects of the child's personality, rightly believing that the foundations of musical culture should be instilled in a person in childhood (5, p. 253).
Any child is more or less capable of creativity, with a competent attitude, almost anyone can develop good musical skills. Much depends on the teacher's work with children and on the age at which classes began. Having started playing the button accordion in kindergarten, the children are gradually drawn into learning and subsequently continue their studies at the people's department.
The problems that arise in the classroom are primarily related to the physical capabilities of children. In their work with preschoolers and students of the 1st grade of a general education school, one should carefully approach the distribution of the load during the lesson, carefully monitor the fit, position of the hands, and the characteristics of this age should also be taken into account. Preschoolers come to school not only to study, but also to play, to enjoy communicating with music. What should be done so that their desire to play the button accordion does not fade away. In this methodological development, the main emphasis is on covering the initial stage of education in the aesthetic department (in preparatory classes).
Analysis of the studied literature, as well as practical experience work in this area allowed us to formulate the purpose of our study.
The purpose of the methodological development is, on the basis of theory and practice, to identify the features of teaching children 5-6 years old on the button accordion.
Based on the purpose of the work, the objectives of the study were determined:
· To analyze the literature on this topic, to study the experience of experts on this issue.
Investigate the psychological characteristics of children 5-6 years of age. Formulate the objectives of training in the aesthetic (preparatory) department.
· To reveal the issue of using game moments in the development of musical abilities.
· Consider the method of teaching on the instrument.
· Carefully examine the issues of landing, setting the hand.
· To study techniques for developing technical skills, the use of exercises.
FEATURES OF TEACHING CHILDREN 5-6 YEARS OLD TO PLAY THE BAYAN
problems creative development preschoolers and children attending the 1st grade of general education schools, a large number of studies have been devoted. Many articles and books have been written on issues of upbringing and education. But along with this, it should be noted that the process of teaching children 5-6 years old to play the button accordion has not been studied enough in the literature. Known methods, music-making programs are mainly devoted to playing the instrument at an older age, starting from 8-10 years old.
There are not so many studies related to teaching children of 5-6 years of age to play the button accordion. Of the published programs and musical editions, the following can be noted:
2. Dudina A.V. "The problem of intonation on the button accordion during the period of primary education."
3. D. Samoilov. "Fifteen Lessons in Playing the Button accordion".
4. O. Shplatova. "First step".
5. R. Bazhilin. "Learning to play the accordion". (Notebook 1, 2).
Almost all music publications for button accordion are black-and-white books, with a minimum number of nondescript pictures, designed for perception by adult students and not taking into account the peculiarities of the attention of preschoolers. What can not be said about musical literature for little pianists - these are bright, memorable collections, with a large number of colorful drawings that attract attention and are liked by children. With appropriate adaptation, they can also be used for button accordion. These tutorials include:
I. Korolkova. "Baby musician."
I. Korolkova. "The first steps of a little pianist."
and some others.
PSYCHOLOGICAL FEATURES
learning children button accordion
Children of different ages are quite different from each other in their psychological makeup, the nature of motivation, preferences, aspirations, type of leading activity. Education, upbringing of children different ages should be different.
When studying with preschoolers, it is necessary to take into account the heavy workload of children with classes, both in kindergarten and at the aesthetic department of the Children's School of Arts, their age characteristics. Classes with young children should not exceed 20-25 minutes. At the initial stage, these can be collective activities related to playing on noise instruments, with ensemble performance (all these features are taken into account when compiling the load and class schedule).
At the lesson with children before school age the game should be somewhat limited directly on the button accordion, supplementing it with exercises for the development of hand coordination, rhythmic exercises, finger games, performance of melodies on other instruments. To do this, for classes with children of 5-6 years of age in the classroom, it is necessary to have not only a button accordion suitable for the height of the child, but also noise instruments (tambourine, rattles, rubel, spoons, etc.), xylophone, metallophone, synthesizer (piano) . All the time playing only one button accordion for little ones is too tiring and uninteresting.
In your work, you need to take into account many factors that affect learning. This is taking into account the individual qualities of the child, the issues of education of cognitive activity, the development of the motivational sphere.
Psychologists, in particular N.D. Levitov, based on the results of experimental studies, set conditions that ensure the activation of the student's mental activity:
1. the novelty of stimuli that provide arousal of interest, attracting their attention (due to the predominance of involuntary attention).
2. change in the activity of functional centers in the brain of students, which is ensured by a variety of methods and forms of work.
3. positive emotional state.
It is impossible to ignore the development of the motivational sphere in education. An experimental study of needs and motives in Russian psychology was started by A.N. Leontiev and his students (L.I. Bozhovich, A.V. Zaporozhets). From the formation of motives and the acceptance by students of the purpose of the lesson, both the success of educational activities and the education of needs that encourage him to be active, aimed at satisfying this need, depend.
The German educator A. Diesterweg wrote: “a bad teacher presents the truth, a good one teaches to find it” (11, p. 106). In the process of developmental education, the teacher should pay attention not only to the presentation of the material, but also to the student himself, forming the ways of his mental activity.
The fifth year of a child's life is characterized by active curiosity. Children by their nature are creatures that master a huge amount of information due to their curiosity, and this should be used in their work. In the classroom, it should be borne in mind that preschoolers cannot yet hold their attention on one thing for a long time, they constantly want something new. The attention of children is unstable, limited to 10-20 minutes. Involuntary attention prevails (directed to everything bright, everything that catches the eye against the will) and, as a result, it is difficult to switch and distribute attention. For young children, bright, colorful collections and visual illustrations that attract the eye should be used. L.G. Dmitrieva and N.M. Chernoivanenko argue: “The more diverse and more active children in the classroom, the more successfully the development of their musical and creative abilities, the formation of interests and needs can be carried out ”(4, p. 51). The activity of children is manifested in everything: in his curiosity, desire to speak, pick up a song, run around, fool around, play.
Up to 6-7 years, the leading activity of the child is the game. Children are mobile, they play and live while playing. The whole life of a preschooler is connected with the game, without it he cannot imagine his life. He's used to playing and he can't do it any other way. The task of the teacher is to support this indomitable, bubbling activity, and to teach by playing with it. The game helps to maintain interest, helps to make an emotional discharge, prevent overwork. A number of playing pedagogical techniques were developed by Sh.A. Amonashvili. Well reveals the features of game situations and L.N. Stolovich. The game contributes to the formation of the physical and spiritual abilities of a growing man, his cognitive activity, and imagination. Game situations contribute to the development of interest, support it even when performing complex tasks, help to diversify classes, change activities along the way. When a song is obtained from several notes, some stories happen with the notes (to find hidden notes in words - candy wrapper, slush), and the works being learned are made out as small stories (K. Bazhilin’s play “Aladdin’s Ship” is a story with Aladdin; the play “Cornflower "- flowers grew in the meadow ...), games are played with the fingers of the child's hands, as a result, it is more interesting for a small schoolchild to study, learning brings him joy. In the practice of Sh.A. Amonashvili uses various playing techniques that can also be used: choral response, “catch the sound”, whispering in the ear, the teacher’s “mistake”, etc. The child goes to art school not only for knowledge, but also for a pleasant pastime, meeting friends , games. “A child most often perceives playing the button accordion as a game, and the game itself cannot be learned for too long, otherwise all the ardor and desire to play will disappear during the training” (5, p. 253). If he sees in music lessons only overcoming difficulties, performing painful exercises, scales and does not feel joy, then in the end this will lead to a drop in his activity, he will consider himself serving a sentence.
The monotony of classes causes fatigue of preschoolers, loss of interest. But too frequent changes from one activity to another require additional adaptive efforts, which also contributes to the growth of fatigue, the loss of the effectiveness of the lesson. The moment of onset of fatigue in children and a decrease in their activity is determined in the course of monitoring the increase in motor and passive distractions of children in the process of activity. The load must be selected taking into account general condition body of each student. The indicators of the effectiveness of the conducted lesson can be considered the state and type of children leaving the lesson: calm - businesslike, satisfied; moderate - excited; tired - confused, excited (10.1-2s.).
THE METHOD OF TEACHING THE GAME ON THE BAYAN
Learning to play the instrument begins with the so-called "donut" period, when all the pieces are selected by ear or played by the demonstration method. For learning, simple songs with words that create the necessary emotional mood child. Musical literacy should be taught gradually, not all at once. As the songs are performed on one, two, three notes, the studied notes are added. Notes are well remembered when the student independently records the learned works in a musical notebook.
The method of teaching children to play a musical instrument is based on the gradual expansion of the range of performed melodies. At the very beginning, these are chants built on one note. There are quite a lot of such melodies, all of them differ only in rhythm and words. Singing, clapping songs to the accompaniment of a teacher allows you to better navigate its rhythmic features, it is easier to remember it. You can practice learning a piece by singing the names of the notes, preliminary performance of the piece on the metallophone, piano, and only after all this is the button accordion taken into hands.
Playing with two hands together is quite difficult, you have to play on two dissimilar keyboards. There are preparatory exercises for training hand interaction. The right and left hands lie on the table (knees), slaps are made with each hand on the surface of the table (knees) alternately, strikes with the right and left hands together at the same time or using their own rhythm for each hand. At the initial stage, preference should be given to pieces in which the right and left hands are played alternately. Such works include: "March" and "Mischievous" by D. Samoilov; "Echo" by R. Bazhilin; "Horse" and "Turtle" O. Shplatova and others.
Instead of the exercises necessary for the development of playing skills on the left keyboard, you can use pieces written for playing only with the left hand. An example is the pieces from the “School of playing the accordion” by R. Bazhilin: - “Polka”, “Bear”, “Donkey”, “Dancing”.
The formation of the first sound production skills is carried out through the execution of exercises that will help the correct conduct of the fur. In the "Modern School of Bayan Playing" by V. Semenov, exercises are given on the "breathing" of the instrument. Several methods are given for driving the bellows with the air valve pressed to achieve the nature of the exercises (“Calm breeze”, “Little storm”, “Calm breathing”, “Let's rest after running”). Similar techniques can be found in other collections. In the "School of playing the accordion" R. Bazhilin is offered to play the air valve depict various figures (cloud, fish, pencil, etc.).
In working with a student on song material, the teacher can follow a certain sequence.
R. Bazhilin gives the following order of studying songs (1, p. 28):
2) Clap your hands for his rhythmic pattern.
3) Tap on the table or according to the scheme of the keyboard of the right hand of the button accordion, the rhythmic pattern of the song with the fingering that is in the notes
4) Tap a rhythmic pattern on the table, pronouncing the syllable -ta-,
equivalent to a quarter note.
5) Learn exercises that have similar rhythmic and musical notes
designations.
G. Stativkin offers the following work on song material (9, p.16):
1. General introduction. The teacher sings a song with accompaniment. Then he reads the text and plays the melody. The distribution of attention to the text and melody of the song contributes to a better perception of the material.
2. Studying the text. The teacher finds out whether all the words of the song are clear, analyzes the plot of the song. Characterizes figurative content, mood, tempo of music. Such analysis contributes to the development of logical thinking and memory. The student learns words by heart.
3. Funds musical expressiveness. Rhythm: The student recites the words according to the rhythm of the melody and taps the rhythm at the same time. The structure of the melody: the number of steps, the nature of the movement (gradual or spasmodic), structure (division into phrases), dynamic development
4. Practical implementation. Singing the text (the teacher plays), playing the melody on the instrument, singing with words and playing the melody. Achievement of musical expressiveness. Transposition by ear.
Comparison of the two presented methods gives an understanding that in his work the teacher must use a variety of methods of working with the student, not focusing only on the constant analysis of works directly on the instrument. The use of these methods makes it possible to take into account the peculiarities of the nervous system of preschoolers and first graders and often change the types of activities in the classroom.
When studying pieces, simple slapping of the rhythm can be replaced by its performance on noise instruments (ratchet, rubel, etc.). Before playing the button accordion (for the smallest ones), first learn a song on the piano or xylophone, followed by performance on the button accordion.
The complexity of the studied works should increase gradually, should not be abused rapidly and a loud game, to prevent tight hands. The gradual increase in the complexity of the pieces is well used in the collection of D. Samoilov "Fifteen Lessons of Playing the Bayan". Each of D. Samoilov's lessons is devoted to the study of several notes and a certain position of the hand, and several songs are built on almost the same movements of the brush, which makes it possible to perform them without much difficulty.
Based on the characteristics of preschool age, their physical capabilities, the tasks of teaching were determined.
Learning objectives in preparatory classes (at the aesthetic department):
1. Development of musical abilities (sense of rhythm, hearing, memory).
2. Formation of initial bayan skills (landing, staging of the gaming machine).
3. Performance of simple songs, tunes.
4. Reducing stage excitement through constant performances.
5. Creation of motivation for further learning to play the button accordion, development of interest in music lessons.
6. Improving the ability to play in an ensemble with a teacher or in an ensemble of noise instruments.
In order to learn how to play the button accordion, you need to learn how to use the basic rules of landing, staging the instrument. At preschool age and while studying in the 1st grade of a general education school, this is of particular importance in connection with the development of the child's body. Let's analyze the basics of setting the tool in more detail.
For children of 5-6 years of age, small musical instruments are needed, suitable for the height of the child. In our school it is:
Bayan "Baby" - 34 x 40
Bayan "Tula" - 43 x 80
The feet should be firmly on the floor; for this, students of short stature are filed the legs of a chair to the required height or a sufficiently wide stand is placed under their feet. The knees should not be kept too wide.
It is necessary not to allow looking at the keyboard while playing, otherwise the student will have to tilt the button accordion. The note up to the first octave is found by counting the desired key from top to bottom, depending on the type of button accordion (“Kid” - the 2nd key, “Tula” - the 3rd key).
The left leg moves forward a little, and the right one stands exactly at an angle, i.e. the left knee is somewhat lower than the right, the bottom of the right half-body rests on the student's thigh. When adjusting the belts, it is taken into account that the left belt is made shorter than the right one. The structure of the child's shoulder girdle should be taken into account. As a rule, the shoulders in children have rounded, smoothed shapes, their bones have not yet grown stronger. Shoulder straps keep slipping. Such students need to use a horizontal strap (below the shoulder blades) that holds the shoulder straps and at the same time provides additional support. This contributes to the development of correct posture. To help the student sit up straight, you can push the center of the back forward. The shoulders are retracted so that the load does not fall on the shoulders, but on the center of the back. The head is held straight. When adjusting the straps, you need to take a deep breath - the body of the tool should lightly touch the chest. With a full exhalation, a small gap of 2-3 centimeters remains between the button accordion body and the performer's chest. (6, p.1-2)
The elbow of the right hand is held so that the forearm does not press against the body and does not interfere with the free work of the hand. It is necessary to ensure that students do not strain their fingers and hand, the release of the wrist joint gives freedom to the fingers.
The right hand with rounded fingers freely covers the neck of the instrument, without pressing the palm against the edge of the neck, forming a small hole between the neck and the palm.
The left hand, bent at the elbow, is passed under the belt, with rounded fingers rests on the keyboard of the second row. The palm and thumb rest against the mesh, creating an emphasis when squeezing. It should be noted that the left half-body on compression starts moving smoothly, without the initial rise up.
DEVELOPMENT OF MUSICAL ABILITIES USING GAME TECHNIQUES
In his work, the teacher should use a variety of techniques - activating memory, educating a sense of rhythm and hearing. Any action of the teacher should take into account the age of the little student. At the age of 5, the main place in life is still occupied by the game. Therefore, the development of musical abilities must be carried out through the game or using game moments. The child is not interested in just sitting and listening to a tape recording when the teacher introduces him to examples of musical art. He came to school in order to have a good time, to learn how to convey his impressions of music with the sound of his instrument.
Let us briefly consider the methods of developing musical abilities, listening to music using game moments.
During his studies at the art school, each student should get acquainted with music of different directions. It is not necessary to listen to all the works recorded on a tape recorder; the teacher himself can also perform them. The child is not interested in being a silent listener. If a marching tune is being played, ask him to march. Depending on the mood of the music, the student must choose the most suitable instrument (rattles, maracas, glockenspiel, etc.) and, together with the teacher, try to perform it. At the same time, the student determines the nature of the work (sad, cheerful, cheerful, etc.), the type of music (march, song, dance), the volume of the melody, the high or low registers used, comes up with a name for the work performed by the teacher, draws a picture on the theme of the melody being listened to .
V. Semenov: “Improving the sense of rhythm accelerates the general musical development of students, because rhythm unites the emotional and motor principles” (9).
To develop a sense of rhythm and attract the attention of children when they begin to get tired and distracted, the Echo game is used. The teacher slams various rhythmic patterns - the student's task is to repeat them. All this should happen without stopping, continuously for some time. Absolutely exact repetition is not required. At the same time, clapping, kicking, stomping, jumping, clicking, everything the teacher can think of are used alternately. If the game goes at a pace, with unexpected twists, it is sure to attract the attention of children and include them in further work. Along the way, memory and a sense of rhythm develop (from the experience of V.A. Zhilin, Children's Art School, Varna).
For the development of hearing, the selection of songs by ear is practiced. The most accessible form of manifestation of musical and auditory representations is singing. Separate sounds, intervals, small chants are played by the teacher on the instrument, the student memorizes and sings, then tries to find the sounds on the button accordion. It is better to take songs with words with which the melody is remembered faster and brighter and, accordingly, it is easier to select. You can take familiar songs that children sang in kindergarten.
The development of hearing and imagination also contributes to the composition of songs, games.
§ game "question-answer". The teacher plays a small piece of his melody on the button accordion - the student's task is to respond in the same way and in the same character (and vice versa). Let it be clumsy attempts, an unsuccessful combination of votes, but at the age of 6, and even more so at the age of five, one cannot demand too much. If a child tries to do something, he develops at the same time. Subsequently, with advanced students, you can continue the work you have begun, and for the rest, let it remain a game.
§ "The game of blind man's buff". The student is given two keys, the teacher plays one of them; the student's task is to find a key, the number of keys gradually increases.
The development of memory contributes to the memorization of a large number of various tunes, songs. It is necessary to periodically return to the previously covered material, after a while it will be played much easier. In a conspicuous place in the office should hang a list of works that have ever been performed by the student. Students should see what they performed in 1st grade or 4th grade. There is an additional incentive for the child to perform several pieces at any time.
For studying musical terms children's love for drawing is used. The student is asked to draw the term "piano" in the form of a sleeping man; "forte" through the roar of engines; you can draw the "P" badge on the chest calm person and the icon "f" for a loud screamer; "diminuendo" in the form of a narrowing road or river, diminishing clouds in the sky, etc. Of course, only the basic terms are taken.
There are different points of view on teaching the ability to improvise. Many people think that only talented children can improvise. A child is not born with ready-made musical abilities, they develop in the process of musical activity, playing a musical instrument, singing, etc. Even the smallest ones are able to improvise to the best of their ability. It can be an image of raindrops on a metallophone, the rustling of leaves underfoot on a maracas, the beat of drums on a tambourine, the whistle of a locomotive on an accordion. The task of the teacher is to maximize the development of the creative abilities of each child. They start with the simplest tricks that do not present any particular difficulty, but at the same time the student must be sure that he has changed the melody, made it a little different. It can be just adding one or two notes to an already familiar melody, playing in upper or lower registers, rhythmic changes.
Children at the age of 5-6 almost without exception love and want to perform. If desired, the teacher can find many opportunities for their performances. These are holidays in kindergarten, concerts at the art school, parent-teacher meetings, etc. Constant participation in concert activity leads to the fact that the student feels quite calm on stage, gets used to playing without excitement. For performance, only works are taken that the student will calmly and happily perform. The plays he plays with difficulty on the stage will not cause positive emotions and can gradually lead to stage fright.
IN modern conditions in working with children it is necessary to use modern means. Using a synthesizer (unfortunately, this is not possible everywhere) allows you to get acquainted with the song being studied on the piano keyboard and then transfer its performance to the button accordion. The capabilities of the synthesizer are not limited to using only the keyboard, this is the rhythmic accompaniment of the performance, this is the ability to record and then play back, change the sound, tempo, etc. Even small children quickly master the synthesizer, independently use all its capabilities. They select the sound, suitable rhythmic accompaniment for a particular work and perform it with pleasure. At the same time, students get acquainted with the piano keyboard, which will come in handy in solfeggio lessons.
The playing of works under a minus phonogram has proven itself well. Unfortunately, at present it is not so easy to find suitable phonograms. Phonograms can be found on the Internet at the appropriate sites (although this is rather problematic) or you can look for recording opportunities in the Houses of Culture, etc. Sometimes on sale you can find musical literature with accompanying discs with phonograms. Such musical publications include the collection of R. Bazhilin "Learning to play the accordion" notebook 2 (with a disk). The button accordion (accordion) part is quite capable of being played both in the first grade and in kindergarten. When playing with a phonogram, students are forced to act within the strict limits of the proposed rhythm, while when performing solo, the student does not always maintain an even rhythm and plays with deviations from the tempo. Professionally made phonograms are liked by all students without exception, and when performed at concerts they are well received by listeners.
TYPES OF EXERCISES AND THEIR USE
One of the most important tasks in learning to play the button accordion is the development of finger fluency, the organization of free game movements. Work on the setting of the hand begins from the very first lessons.
Any action of the hands is produced by contraction of a certain group of muscles. The contraction of some muscles should not cause tension in others that are not involved in the work. The exercises under consideration help to prevent muscle strain, the student after the end of the lesson should feel the looseness of the gaming machine.
Exercises can also be used in the form of a kind of bundles to relieve psychophysical stresses that form during the lesson with the student.
At the initial stage of training, the exercises help to get an idea of the correct sound production and the movements necessary for this. Their use helps to quickly master the keyboard, develops independence of hands, and forms the initial practical skills of playing the instrument.
I would like to note the following methodological manuals and collections devoted to exercises or touching on this topic:
1. I.E. Safarov. "Games for the organization of pianistic movements"
2. V. Semenov. "Modern School of Bayan Playing".
3. Stativkin G. Primary education on an elective-ready button accordion.
4. R. Bazhilin. "School of playing the accordion".
5. D. Samoilov. "Fifteen Lessons in Playing the Button accordion".
6. Rizol. Principles of using the five-finger fingering on the button accordion.
7. Easy exercises and sketches for grades 1-3.
8. Yu. Bardin. Learning to play the button accordion using five-finger fingering.
Each author describes a certain number of exercises aimed at developing certain skills. Different kinds exercises are scattered across different textbooks, even if they are given in the same collection, then on different pages. Using the exercises in this case is not convenient enough. In this paragraph, an attempt is made to combine exercises to develop certain skills that are suitable for use in working with 5-6 year old children.
Exercises can be conditionally divided into several groups.
finger games
Practice shows that finger games can be used in classes with children from 2 to 8 years old.
I.E. Safarova: “Through finger games, the child develops not only tactile movements and touch, but also develops it more intensively. speech development, which in turn is related to common development child, the formation of his personality” (8).
Exercises are used, both aimed at working with the fingers and hand, and at movements with the forearm and the whole arm.
v Finger game “5 mice”.
Five little mice - move all the fingers of both hands.
We got into the closet.
In barrels and jars
They wield dexterously.
The 1st mouse climbs onto the cheese - they put out their thumb.
The 2nd mouse dives into the sour cream - put up the index finger.
And the third licked off all the butter from the plate, - they put up the middle finger.
The fourth one got into a bowl of cereals - they put out a ring finger.
And the fifth mouse treats itself with honey. - expose the little finger.
All are full and happy. - we rub our palms.
Suddenly... The cat wakes up. - pull out claws.
“Let's run!” - squeaked
Girlfriends baby,
And hid in a hole
Naughty mice - hide their hands behind their backs
Mice live happily
The mice sing songs.
v Finger game "Spider" (8)
Spider all up criss-crossed pads
Creeps, 2 and 1 fingers of the right and left hands.
He weaves a web. Spider paws - sensitive, round
The cobweb is so thin, the first fingers hook on each other
Firmly friend, the rest perform the movement
Holds a moth "wings of a moth"
v A lock hangs on the door (hands in the lock)
Who could open it (straighten the lock)
Twist (twist with hands)
Knocked (tap with palms)
And opened (hands to the sides).
v "Scallop". Hands in the lock, alternately straighten the fingers, then one, then the other hand.
v Biped racing. Fingers walk on the table (2 fingers each). The load is distributed at the fingertips.
v "Elephants". Stick out 3 fingers, with the other four, walk on the table like a spider.
v "sloth brothers". Palms on the table, alternately raise your fingers up, several times each finger (antagonist muscles responsible for movement).
v "Big fan". Hands to shoulder. Inhale arms to shoulder, exhale down.
v "Lightning lock". To relax the wrist. Free sliding on the keys up and down.
v "Hunting". With a large movement of the brush, hit the desired key.
Formation of preliminary initial practical gaming skills without an instrument and on it (10, p. 8-11):
v Leaning with arms bent at the elbows on the table, the student at a slow pace makes circular movements with relaxed hands.
v Sitting on a chair, lower your arms along the torso and lightly shake freely hanging brushes.
v Fingers with pads on the table (in a half-bent state). The hand moves to the side and returns without taking the fingers off the table surface.
v Exercise "Swan". The right hand is down. The arm is bent at the elbow, moved to the side and smoothly lowered onto the keyboard, maintaining the original position of the hand and forearm. After touching the keyboard, the removal of the hand in a wave-like movement from the elbow, forearm and hand to the fingers, which come off the key at the last moment. Repetition several times resembles the flapping of a swan's wing.
v Exercise "Vertical". All five fingers on the last row. The hand, under its weight, slowly and easily slides up and down.
v "Button". On the proportionality of muscle efforts with the elasticity of the buttons. Touch the key with the pad of the third finger and gently immerse it to the bottom, while feeling the support. Then the hand is removed with the "Swan" movement.
Sound-altitude exercises (10, p. 21)
§ "From the mountain on a sled." Descending melodic movements in small thirds down (glissando), fading, slowing down, etc.
§ "Rocket". An ascending melodic movement along a vertical row (glissando), the sliding speed increases, and the dynamics imitates the removal of a rocket.
§ "Bunny". The student determines where the bunny jumps up or down (m2 is played up or down).
To develop independence various parts hands, there are the following exercises (9, p. 8)
v Hands down and relaxed. Sharply clench the fingers of the left hand into a fist, and then, relaxing the muscles, open the fist. At this time, the right hand is absolutely free.
v Place your right hand on the table. Raise the forearm up parallel to the plane of the table. Shoulder muscles work. The hand and fingers are relaxed.
v Right hand on the table, fingers bent and touching the table. Raise the forearm, bending the arm at the elbow (the hand is free), then lower it.
v Hands on the table, fingers bent. Raise and lower each finger.
v The situation is the same. Light alternating strokes with 1 and 5 fingers, then with 2 and 4 fingers due to the rotation of the brush. Finger movements are minimal.
In musical practice, a position is usually called one or another position of the hand and fingers on the fretboard or keyboard. On the right keyboard, the performer moves his hand up or down along the fretboard. The thumb of the right hand can be either behind the neck or in front.
There are three main positions associated with different positions of the elbow (9, p.12-13):
1. First position. High position of the elbow (2,3,4 fingers are located in semitones on the keys C, C sharp and D).
2. Second position. Middle position of the elbow. The fingers are located on the keys of one of the rows of the keyboard (along the minor thirds).
3. Third position. Low position of the elbow (1,2,3 fingers of the right hand are located according to the tones on the keys fa, sol, la).
To train the hand to perform in positions and move from one position to another, there are various exercises that can be found in the book editions listed on pages 19-20.
CONCLUSION
In the presented methodological development, the main emphasis is placed on the initial period of education, which is of great importance for the future development of the child. The features of teaching children 5-6 years old on the button accordion and the differences in working with preschoolers and students of the 1st grade of a general education school from classes with 8-10 year old children are considered.
The tasks of teaching in the preparatory classes (aesthetic department) are determined based on the psychological characteristics of preschoolers and their physical capabilities.
How to be able to interest a little man, captivate him. Since the leading activity of this age is the game, the development of musical abilities (hearing, memory, sense of rhythm, ability to improvise, etc.) is impossible without the use of game techniques. The preschooler is accustomed to play and can't do it any other way.
There is no doubt that in connection with the development of the child's body, special control over the landing, setting of the instrument is required. It is necessary to somewhat limit the game directly on the button accordion, commensurate it with the capabilities of each student. It is impossible to do only work on the study of works, it is necessary to use a whole complex of techniques. In the classroom in the specialty, in addition to studying the pieces, it is necessary to use the game on other instruments, performing various exercises, singing, drawing, games.
It is impossible in one methodological development to cover all issues related to such an extensive topic as accordion classes with preschoolers and students of the 1st grade of a comprehensive school.
How the teacher manages to develop different aspects of the student's talent, and simply find a common language with the child, depends on his further path in music.
BIBLIOGRAPHY
1. Bazhilin R.N. Accordion school. - Teaching aid. - M.: Publishing house of V. Katansky, 2001. - 208s.
3. Questions of methods of teaching the button accordion: At 2 o'clock Proc. allowance / Petukhov V.I.; TGIIK; Department of Orchestral Conducting. - Tyumen, 2003. - 85s.
4. Dmitrieva L.G., Chernoivanenko N.M. Methodology musical education At school. - M.: Enlightenment, 1989.-208s.
5. World of childhood: Junior schoolboy. / Under. Ed. A.G. Khripkova; - 2nd ed., - M .: Pedagogy, 1988.-272s.
7. Samoilov D. 15 lessons of playing the button accordion. - M.: Kifara, 1998. - 71s.
8. Safarova I.E. Games for the organization of pianistic movements. - Yekaterinburg, 1994.
9. Semenov V. Modern school of playing the button accordion. - M.: Music, 2003. - 216s.
10. Stativkin G. Primary education on an elective-ready button accordion. - M.: Music, 1989.- 126s.
11. Sukhikh F.K. The influence of the load on the state of preschoolers during the lesson. - http://festival.1september.ru/
12. Yakimanskaya I.S. Developmental training. - M.: Pedagogy, 1979.-144s.
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